Looks like it's finally going to be a warm, sunny weekend here in Chicago. So, in honor of the rain's disappearance, here are a few good beach reads to check out while you soak up the sun:
WELCOME TO TEMPTATION and FAKING IT by Jennifer Cruise are the perfect beach reads. Both have hilarious, over the top characters, witty and raunchy dialogue, and clever story lines. Don't be embarrassed by the pink and pastel yellow covers, ten pages in you'll forget all about them.
For a different kind of humor, try ME TALK PRETTY ONE DAY by Dave Sedaris. This autobiographical series of vignettes and short stories had me laughing out loud, especially the section about his experience in art school.
If you'd rather catch some action while you catch some rays, pick up GONE FOR GOOD or TELL NO ONE by Harlan Coben. He does a brilliant job of putting ordinary people in extraordinary circumstances and is a master at suspense.
Short story collections are perfect when you're reading time is limited. Check out CHICAGO BLUES, THESE GUNS FOR HIRE, and EXPLETIVE DELETED, all published by the talented folks at Bleakhouse Books.
Planning on taking your Kindle to the beach? Want more recommendations? Good news! Crimespree Magazine is now available on Kindle. Check it out!
Friday, June 19, 2009
Wednesday, June 17, 2009
Writer's Block: Social Networking for You
It seems these days, everyone has a Twitter, Facebook, and MySpace account. Most are on LinkedIn, writers are on Goodreads and Shelfari, and crime writers are on Crimespace. With all of the buzz surrounding social networking sites, it's easy to get wrapped up in the trend. But the benefits of these websites varies depending on who you are. Your goals will determine which sites are best for you.
You Are: An unpublished, aspiring novelist
You Need: None of the above
Finishing your book and getting published is your #1 goal. These social networking sites will only serve as a distraction. An agent is not going to notice you because you follow them on Twitter and no editor will accept submissions via Facebook. Spend your energy finishing your book, querying agents, and getting your book published.
You Are: A freelance writer
You Need: LinkedIn and Twitter
As a career freelancer, two things are imperative: knowledge and contacts. Following pertinent Twitterers such as the New York Times, Wall Street Journal, or even President Obama, will keep you up to date on what is going on in the world. LinkedIn helps you make contacts in the industry, includes job postings, and allows you to showcase your body of work.
You Are: A blogger
You Need: Twitter, Facebook and Myspace
Depending on the type of blog, you could hit hundreds of social networking sites, but these three are the most important. If you're goal is to drive people to your website, the more links out there, the better. In order for people to find your blog, they have to find you, and these three sites will help them do that. In addition to mentioning your blog in your profile, link you your latest blog entries on your Twitter and Facebook updates.
You Are: A published novelist
You Need: All of the above
Okay, you don't really need all of the above, but the more places mentioning your book, the better. It only takes a few minutes to set up GoodReads or Crimespace, and once it's up, it's not so important to maintain. Twitter and Facebook are higher maintenance: they require constant updating. The others are more for search engine purposes; the more your book is mentioned the more it will pop up. I've updated my Crimespace page once in two years, but it still pops up if you type my name into Google. If you're time is limited, stick with either Facebook or Twitter.
Though these sites are all the rage, not everyone needs them. Figure out your goals and evaluate what these sites are doing to accomplish those goals. These are social networking tools, but if you're using them for your career, the emphasis should be on "networking" not "social".
You Are: An unpublished, aspiring novelist
You Need: None of the above
Finishing your book and getting published is your #1 goal. These social networking sites will only serve as a distraction. An agent is not going to notice you because you follow them on Twitter and no editor will accept submissions via Facebook. Spend your energy finishing your book, querying agents, and getting your book published.
You Are: A freelance writer
You Need: LinkedIn and Twitter
As a career freelancer, two things are imperative: knowledge and contacts. Following pertinent Twitterers such as the New York Times, Wall Street Journal, or even President Obama, will keep you up to date on what is going on in the world. LinkedIn helps you make contacts in the industry, includes job postings, and allows you to showcase your body of work.
You Are: A blogger
You Need: Twitter, Facebook and Myspace
Depending on the type of blog, you could hit hundreds of social networking sites, but these three are the most important. If you're goal is to drive people to your website, the more links out there, the better. In order for people to find your blog, they have to find you, and these three sites will help them do that. In addition to mentioning your blog in your profile, link you your latest blog entries on your Twitter and Facebook updates.
You Are: A published novelist
You Need: All of the above
Okay, you don't really need all of the above, but the more places mentioning your book, the better. It only takes a few minutes to set up GoodReads or Crimespace, and once it's up, it's not so important to maintain. Twitter and Facebook are higher maintenance: they require constant updating. The others are more for search engine purposes; the more your book is mentioned the more it will pop up. I've updated my Crimespace page once in two years, but it still pops up if you type my name into Google. If you're time is limited, stick with either Facebook or Twitter.
Though these sites are all the rage, not everyone needs them. Figure out your goals and evaluate what these sites are doing to accomplish those goals. These are social networking tools, but if you're using them for your career, the emphasis should be on "networking" not "social".
Tuesday, June 16, 2009
Monday, June 15, 2009
Must-See Monday
The weekend may be over, but the literary fun has only begun! Check out these must-sees:
Twilight Tales goes gay for pride month Monday, June 15th at 7:30pm. The reading series has temporarily relocated to the Bourgeois Pig (738 W. Fullerton)
The Book Cellar hosts local author night on Wednesday, June 17th at 7:00pm. Billy Lombardo, author of HOW TO HOLD A WOMAN, is a very talented writer and definitely worth hearing.
If you're in the burbs, Jamie Freveletti will be signing copies of RUNNING FROM THE DEVIL at the Warren Newport Public Library in Gurnee Saturday, June 20th 2:00-3:30pm.
Check out the monthly literary and variety showcase, Sappho's Salon, at Women and Children First on Saturday, June 20th at 7:30pm. Tonight is their anniversary performance and the $10 includes food and wine.
I just learned that one of my favorite restaurants, Uncommon Ground, has a bi-monthly open mike called Story Club, so stop by the Wrigleyville Location on Sunday, June 21. The show features 8-10 minute readings, oral storytelling, improv and stand-up comedy. Sign up begins at 8:00pm, show starts at 8:30pm.
Twilight Tales goes gay for pride month Monday, June 15th at 7:30pm. The reading series has temporarily relocated to the Bourgeois Pig (738 W. Fullerton)
The Book Cellar hosts local author night on Wednesday, June 17th at 7:00pm. Billy Lombardo, author of HOW TO HOLD A WOMAN, is a very talented writer and definitely worth hearing.
If you're in the burbs, Jamie Freveletti will be signing copies of RUNNING FROM THE DEVIL at the Warren Newport Public Library in Gurnee Saturday, June 20th 2:00-3:30pm.
Check out the monthly literary and variety showcase, Sappho's Salon, at Women and Children First on Saturday, June 20th at 7:30pm. Tonight is their anniversary performance and the $10 includes food and wine.
I just learned that one of my favorite restaurants, Uncommon Ground, has a bi-monthly open mike called Story Club, so stop by the Wrigleyville Location on Sunday, June 21. The show features 8-10 minute readings, oral storytelling, improv and stand-up comedy. Sign up begins at 8:00pm, show starts at 8:30pm.
Friday, June 12, 2009
Weekend Reading (and viewing)
The cold and the wind continue here in Chicago, perfect weather for renting movies. So here are a few books to check out before viewing their film counterparts:
One of my favorite books is Mystic River by Dennis Lehane and Clint Eastwood did a great job adapting the book for screen. Both are beautifully told and portray haunted, gripping characters.
For more great characters, check out Rules of Attraction by Bret Easton Ellis. In this case, I actually enjoyed the film more than the book, but both are told in very interesting ways.
Another great book/film is Jarhead by Anthony Swofford, a memoir about one Marine's experience in the gulf war. The film is a bit different than the book, but both are wonderfully told.
Lastly, I have to mention both Chuck Palahniuk books that have been made into films: Fight Club and Choke. Both books are great, I liked Choke the book a little better, but Fight Club is by far, the better adaptation.
One of my favorite books is Mystic River by Dennis Lehane and Clint Eastwood did a great job adapting the book for screen. Both are beautifully told and portray haunted, gripping characters.
For more great characters, check out Rules of Attraction by Bret Easton Ellis. In this case, I actually enjoyed the film more than the book, but both are told in very interesting ways.
Another great book/film is Jarhead by Anthony Swofford, a memoir about one Marine's experience in the gulf war. The film is a bit different than the book, but both are wonderfully told.
Lastly, I have to mention both Chuck Palahniuk books that have been made into films: Fight Club and Choke. Both books are great, I liked Choke the book a little better, but Fight Club is by far, the better adaptation.
Wednesday, June 10, 2009
Writer's Block: The Memorable Protagonist
It is difficult to love a book without loving the character. I'd go out on a limb to say it's impossible. When we fall in love with stories, we fall in love with the characters. If you don't care about the person, you won't care what happens to them.
So as writers, how do we create protagonists that readers care about? Here are a few suggestions:
Multi-Faceted. One of my biggest pet peeves is when the protagonist is a cliche, cardboard cutout: the tired/alcoholic cop, the sociopath with a traumatic upbringing, etc. Readers like characters with more than one dimension, especially when that dimension is one that you wouldn't expect: A killer who's very religious and goes to confession after every murder or a cop who dreams of becoming a folk singer and plays at cafes and local open mikes. Readers want characters who are more than just their job title.
Baggage. There's nothing I love more than a protagonist with a past. We all are who we are and are doing what we're doing because of past experiences. Let your character carry some baggage and show readers how it affects their actions in the story.
Goals. All of the characters in your book should have goals, but your protagonist's are the most important. Clearly illustrate what their goals, don't let them achieve them too easily, and make them driven and passionate about reaching those goals.
Conflict. A character without problems is a character without a story. A book cannot simply illustrate a character on a journey to achieve their goals. There must be conflict, problems, obstacles.
Flawed. Perfect characters are boring and not believable. Characters with weaknesses and flaws are more interesting and realistic. Giving your character a weakness will not only make them more believable and sympathetic, the weakness will also serve as an obstacle to overcome.
What should you avoid?
Cliche. Both in dialogue and the characters themselves.
Gimmicks. Sometimes they're funny, but more often then not, they're cheesy. Unless you're Monk or Elmore Leonard.
Forcing a protagonist. Finding your storyteller should be organic; you shouldn't force the story on a character just because their convenient. Before you begin to write, brainstorm and look closely to find the true storyteller in your book.
So as writers, how do we create protagonists that readers care about? Here are a few suggestions:
Multi-Faceted. One of my biggest pet peeves is when the protagonist is a cliche, cardboard cutout: the tired/alcoholic cop, the sociopath with a traumatic upbringing, etc. Readers like characters with more than one dimension, especially when that dimension is one that you wouldn't expect: A killer who's very religious and goes to confession after every murder or a cop who dreams of becoming a folk singer and plays at cafes and local open mikes. Readers want characters who are more than just their job title.
Baggage. There's nothing I love more than a protagonist with a past. We all are who we are and are doing what we're doing because of past experiences. Let your character carry some baggage and show readers how it affects their actions in the story.
Goals. All of the characters in your book should have goals, but your protagonist's are the most important. Clearly illustrate what their goals, don't let them achieve them too easily, and make them driven and passionate about reaching those goals.
Conflict. A character without problems is a character without a story. A book cannot simply illustrate a character on a journey to achieve their goals. There must be conflict, problems, obstacles.
Flawed. Perfect characters are boring and not believable. Characters with weaknesses and flaws are more interesting and realistic. Giving your character a weakness will not only make them more believable and sympathetic, the weakness will also serve as an obstacle to overcome.
What should you avoid?
Cliche. Both in dialogue and the characters themselves.
Gimmicks. Sometimes they're funny, but more often then not, they're cheesy. Unless you're Monk or Elmore Leonard.
Forcing a protagonist. Finding your storyteller should be organic; you shouldn't force the story on a character just because their convenient. Before you begin to write, brainstorm and look closely to find the true storyteller in your book.
Tuesday, June 09, 2009
Top Ten Tuesday
This is just my opinion, one I've formed from personal experiences. Again, the list is in alphabetical order, not ranked. Disagree? Feel free to comment!
Top Ten Places to Meet Other Writers in Chicago
Monday, June 08, 2009
Must-See Monday
This is a light week for all things literary, but here are a few events you'll want to check out:
Tuesday, June 9th at 7:30 PM check out Quickies at the Innertown Pub (1935 W. Thomas). This reading series features short stories of 5 minutes or less. The rowdy crowd will cheer, whistle, boo and heckle, which can be just as entertaining as the readings themselves.
If you care to venture out to the burbs, Laura Caldwell will be discussing and signing copies of her latest book, RED HOT LIES at the Wacounda Public Library on Thursday, June 11th at 7:30pm. Laura is a great writer with a wonderful personality and she's definitely worth the drive.
Another suburban event worth checking out is writing duo Michael Stanley. They will be discussing and signing copies of their latest book, THE SECOND DEATH OF GOOD LUCK TINUBU on Friday, June 12th at 7:00pm at Centuries and Sleuths (7419 W. Madison) in Forest Park. Stanley is the author of the Dective Kubu series set in Botswana.
Tuesday, June 9th at 7:30 PM check out Quickies at the Innertown Pub (1935 W. Thomas). This reading series features short stories of 5 minutes or less. The rowdy crowd will cheer, whistle, boo and heckle, which can be just as entertaining as the readings themselves.
If you care to venture out to the burbs, Laura Caldwell will be discussing and signing copies of her latest book, RED HOT LIES at the Wacounda Public Library on Thursday, June 11th at 7:30pm. Laura is a great writer with a wonderful personality and she's definitely worth the drive.
Another suburban event worth checking out is writing duo Michael Stanley. They will be discussing and signing copies of their latest book, THE SECOND DEATH OF GOOD LUCK TINUBU on Friday, June 12th at 7:00pm at Centuries and Sleuths (7419 W. Madison) in Forest Park. Stanley is the author of the Dective Kubu series set in Botswana.
Friday, June 05, 2009
Weekend Reading - Printer's Row edition
In honor of Printer's Row, I'm recommending authors who will be at the book fair this weekend. Be sure to attend their panels or stop by their booths to get signed copies!
RED HOT LIES by Laura Caldwell released this week. Laura is a Chicago author whose books are a good mix of thriller and chick-lit. This book is the first installment of a summer trilogy; the subsequent books will be released in July and August.
Also in attendance will be Chicago authors Marcus Sakey and Sean Chercover. These two aren't just great writer's, they're a lot of fun too. Don't just buy their books (GOOD PEOPLE and TRIGGER CITY), take them out for a beer too!
Tickets to Elmore Leonard, one of my favorite authors, are already sold out, but that doesn't mean you won't be able to get a book signed. If you haven't read him, I'd recommend starting with GET SHORTY and BE COOL. I think BE COOL is the better book, but you can't appreciate it without reading GET SHORTY first. His latest book, ROAD DOGS, is supposed to be great, but I haven't gotten a chance to pick it up yet.
RED HOT LIES by Laura Caldwell released this week. Laura is a Chicago author whose books are a good mix of thriller and chick-lit. This book is the first installment of a summer trilogy; the subsequent books will be released in July and August.
Also in attendance will be Chicago authors Marcus Sakey and Sean Chercover. These two aren't just great writer's, they're a lot of fun too. Don't just buy their books (GOOD PEOPLE and TRIGGER CITY), take them out for a beer too!
Tickets to Elmore Leonard, one of my favorite authors, are already sold out, but that doesn't mean you won't be able to get a book signed. If you haven't read him, I'd recommend starting with GET SHORTY and BE COOL. I think BE COOL is the better book, but you can't appreciate it without reading GET SHORTY first. His latest book, ROAD DOGS, is supposed to be great, but I haven't gotten a chance to pick it up yet.
Wednesday, June 03, 2009
Writer's Block: Konrath's e-book experiment
Though I've already written about my take on the Kindle and e-books, author J.A. Konrath has had some interesting posts on the subject the last couple of weeks. So today, instead of giving my opinion, I'm pointing you to someone else's:
E-Books Part 1
E-Books Part 2
E-Books Part 1
E-Books Part 2
Tuesday, June 02, 2009
New Top Ten Tuesdays
Thought I'd try something new for a few weeks. Every Tuesday I'll put out my top ten list of various themes. The listings will be in alphabetical order, not rank, and if you feel I've missed something, feel free to comment!
Top Ten Chicagoland Independent Bookstores
- 57th Street Books in Hyde Park
- Barbara's Bookstore UIC location
- Book Cellar in Lincoln Square
- Book Stall in Winnetka
- Centuries and Slueths in Forest Park
- Myopic Bookstore in Wicker Park
- Quimby's in Bucktown
- Sandmeyers Bookstore in the South Loop
- Unabridged Bookstore in Lakeview
- Women and Children First in Andersonville
Monday, June 01, 2009
Must-See Monday
Featured Event (just because I'm the one reading!)
Tuesday, June 2nd at 7:30pm at Big Chicks (5024 N. Sheridan) I'll be reading at Homolatte. Joining me is singer/songwriter Samantha Cathcart. It will be a great night of music and prose, a definite must-see.
Authors Jamie Freveletti, Billy Lombardo, and poet Robert McDonald read at RUI: Reading Under the Influence Wednesday, June 3rd 7-10pm at Sheffields (3258 N. Sheffield). If you haven't been to this unique and lively reading series, it's definitely worth checking out. Answer the trivia correctly, you'll come out with a free drink and a free book!
National Book Award nominee Jean Thompson launches a new short story collection, DO NOT DENY ME, MY BROTHER, Friday, June 5th at 7:30pm at Book Cellar (4736 N. Lincoln). Authors J. Adams Oaks and Lindsay Hunter will be joining him and the event is sponsored by Jonathan Messinger of Featherproof Books.
June 6th and June 7th, make sure to check out the Printer's Row Bookfair. There are too many events to post, so click here to check out the full schedule. Some authors of note include Marcus Sakey, Sean Chercover, Jamie Freveletti, Laura Caldwell, Tasha Alexander, Andrew Grant, Dave Eggers, Elmore Leonard, and others.
Friday, May 29, 2009
Weekend Reading
I picked up THE WAY HOME by George Pelecanos yesterday and have not been able to put it down since. His new novel straddles the line of literature and crime fiction, beautifully written with compelling characters.
Also released this week is Michael Connelly's THE SCARECROW. His latest novel features newspaper writer Jack McEvoy, the same protagonist from THE POET and one of my favorites.
If you need a quick read over the weekend, and you're into e-books, check out SERIAL by Chicago author Jack Kilborn and Blake Crouch. This slim novella tells the story of two serial killers and what happens when they find each other. Lots of violence and twisted characters, but grips you from beginning to end. Best part; the book is free.
Need more recommendations? Check out my reviews in Crimespree Magazine.
Also released this week is Michael Connelly's THE SCARECROW. His latest novel features newspaper writer Jack McEvoy, the same protagonist from THE POET and one of my favorites.
If you need a quick read over the weekend, and you're into e-books, check out SERIAL by Chicago author Jack Kilborn and Blake Crouch. This slim novella tells the story of two serial killers and what happens when they find each other. Lots of violence and twisted characters, but grips you from beginning to end. Best part; the book is free.
Need more recommendations? Check out my reviews in Crimespree Magazine.
Wednesday, May 27, 2009
Writer's Block: A Writer's Library
When I first started writing genre fiction, back in my freshman year of college, I knew very little about it. I had never read mysteries or thrillers, I didn't know anything about plot structure or outlining, and I had no idea about the process of publishing a novel. I was a natural story teller, that's why I went to Columbia College in the first place, the other aspects of writing I learned through classes, conferences, peers, and best of all, books.
There are lots of books about writing; some are better than others. Since not everyone can attend a creative writing program and not everyone lives in an area where there are other writers, books about the craft of writing can be extremely helpful. Here are a few of my favorites:
Elements of Style by Strunk and White. This is a must-have for any writer. It's a slim paperback, but it's full of helpful grammar and style tips. Middle school language arts was a long time ago and this trusty guide will remind you of all that was forgotten.
On Writing by Stephen King. This is a combination of memoir and writing book. It's divided into three sections: One where King talks about his childhood and how he became a writer, another where he talks about the craft of writing, and the last section is a brutally honest telling of his accident and what came after. The second section is extremely helpful and the other two are simply inspiring.
Write Faster, Write Better by David A. Fryxell. Anyone who thinks it will take years to finish a novel, needs this book. Fryxell is has great ways to organize, plan ahead, and overall, write more efficiently. If you think a novel is daunting now, you won't after reading this book.
The Writer's Market. This massive volume is packed with agents, publishers, freelance opportunities, writing groups, conferences and more. Some of the information can be off so make sure to check websites for up-to-date mailing addresses and submission guidelines, but this book will send you on the right path.
Writing the Breakout Novel by Donald Maass. I read this just as I was finishing up my first manuscript, and by the time I was done, I felt like I needed to rewrite my entire book. Maass clearly knows the industry and gives great advice to writers wanting to breakout from the midlist. Also check out the workbook companion.
Writing and Selling Your Mystery Novel by Hallie Ephron. Obviously this mostly applies to mystery writers, but I believe her tips, outlines, and characterization charts can be applied to any type of novel. The book includes extensive worksheets illustrating how to effectively plot your book, create compelling characters, and how to build suspense. I found it very helpful when I was attempting to write my first mystery.
The Successful Novelist by David Morrell. I myself have not picked up this book yet, but many writers I know rave about it, so I felt I should include it. Morrell is the author of First Blood and the creator of Rambo. He is also a professor at the University of Iowa in their creative writing program. He's been writing and teaching a long time and with that experience comes a wealth of knowledge.
Feel free to comment with any books that have been helpful in your writing career!
There are lots of books about writing; some are better than others. Since not everyone can attend a creative writing program and not everyone lives in an area where there are other writers, books about the craft of writing can be extremely helpful. Here are a few of my favorites:
Elements of Style by Strunk and White. This is a must-have for any writer. It's a slim paperback, but it's full of helpful grammar and style tips. Middle school language arts was a long time ago and this trusty guide will remind you of all that was forgotten.
On Writing by Stephen King. This is a combination of memoir and writing book. It's divided into three sections: One where King talks about his childhood and how he became a writer, another where he talks about the craft of writing, and the last section is a brutally honest telling of his accident and what came after. The second section is extremely helpful and the other two are simply inspiring.
Write Faster, Write Better by David A. Fryxell. Anyone who thinks it will take years to finish a novel, needs this book. Fryxell is has great ways to organize, plan ahead, and overall, write more efficiently. If you think a novel is daunting now, you won't after reading this book.
The Writer's Market. This massive volume is packed with agents, publishers, freelance opportunities, writing groups, conferences and more. Some of the information can be off so make sure to check websites for up-to-date mailing addresses and submission guidelines, but this book will send you on the right path.
Writing the Breakout Novel by Donald Maass. I read this just as I was finishing up my first manuscript, and by the time I was done, I felt like I needed to rewrite my entire book. Maass clearly knows the industry and gives great advice to writers wanting to breakout from the midlist. Also check out the workbook companion.
Writing and Selling Your Mystery Novel by Hallie Ephron. Obviously this mostly applies to mystery writers, but I believe her tips, outlines, and characterization charts can be applied to any type of novel. The book includes extensive worksheets illustrating how to effectively plot your book, create compelling characters, and how to build suspense. I found it very helpful when I was attempting to write my first mystery.
The Successful Novelist by David Morrell. I myself have not picked up this book yet, but many writers I know rave about it, so I felt I should include it. Morrell is the author of First Blood and the creator of Rambo. He is also a professor at the University of Iowa in their creative writing program. He's been writing and teaching a long time and with that experience comes a wealth of knowledge.
Feel free to comment with any books that have been helpful in your writing career!
Monday, May 25, 2009
Must-See Monday
Get over the beer and BBQ hangover with a little dose of literary:
Jane Hamilton and Elizabeth Berg read from their latest novels at Women and Children First (5233 N. Clark) Wednesday, May 27th at 7pm. This is one of my favorite bookstores and they always put on a good show.
Michael Connelly and George Pelecanos team up to sign copies of their latest books Wednesday, May 27th. Catch them on your lunch hour at Borders downtown (150 N. State) at 12:30pm or after work at Barnes and Noble Skokie (55 Old Orchard Center) at 7:30pm.
The poetry press, Switchback Books, is hosting a fundraiser at Irish Eyes (2519 N. Lincoln) on Thursday, May 28th at 7pm. No readings scheduled, but come out and support this small press. Switchback staff will be bartending.
In the mood for something racier? Check out The Sunday Night Sex Show at The Burlington (3425 W. Fullerton) Sunday, May 31 at 7:30pm. This lively reading series is a Metromix pick, includes prizes and trivia games, and is held the last Sunday of every month.
Jane Hamilton and Elizabeth Berg read from their latest novels at Women and Children First (5233 N. Clark) Wednesday, May 27th at 7pm. This is one of my favorite bookstores and they always put on a good show.
Michael Connelly and George Pelecanos team up to sign copies of their latest books Wednesday, May 27th. Catch them on your lunch hour at Borders downtown (150 N. State) at 12:30pm or after work at Barnes and Noble Skokie (55 Old Orchard Center) at 7:30pm.
The poetry press, Switchback Books, is hosting a fundraiser at Irish Eyes (2519 N. Lincoln) on Thursday, May 28th at 7pm. No readings scheduled, but come out and support this small press. Switchback staff will be bartending.
In the mood for something racier? Check out The Sunday Night Sex Show at The Burlington (3425 W. Fullerton) Sunday, May 31 at 7:30pm. This lively reading series is a Metromix pick, includes prizes and trivia games, and is held the last Sunday of every month.
Friday, May 22, 2009
Memorial Day Weekend Reading + Contest
The three day weekend calls for extra book recommendations! Read to the end and check out The Chicago Contingent's first contest....
For something new, check out Lee Child's GONE TOMORROW, the latest installment of the Jack Reacher series. Reacher fans will be blown away; it's easily the best one yet. If this is your first introduction, never fear, GONE TOMORROW does stand on its own. Personally, I'd recommend checking out a few others before this one, just to see how far Reacher has come: KILLING FLOOR, TRIPWIRE, and THE PERSUADER.
This week, the committee announced this year's Anthony Award Nominees, so I'll be reading those nominated for best novel. Check them out:
Trigger City by Sean Chercover
The Brass Verdict by Michael Connelly
Red Knife by William Kent Krueger
The Girl With the Dragon Tattoo by Stieg Larsson
The Cruelest Month by Louise Penny
Finally, for this weekend's Chicago author, I suggest author and renegade publisher Darren Callahan. I met him at a writer's conference and was skeptical when he handed me a home-made book. But I took it home, I read it, and I fell in love. Check out DOCUMENTIA and CITY OF HUMAN REMAINS and order them here. _______________________________________________________
Now for The Chicago Contingent's first contest! The first five people to comment on today's post and include their suggested weekend reading, will receive a free copy of Jack Kilborn's AFRAID. Read about it here!
For something new, check out Lee Child's GONE TOMORROW, the latest installment of the Jack Reacher series. Reacher fans will be blown away; it's easily the best one yet. If this is your first introduction, never fear, GONE TOMORROW does stand on its own. Personally, I'd recommend checking out a few others before this one, just to see how far Reacher has come: KILLING FLOOR, TRIPWIRE, and THE PERSUADER.
This week, the committee announced this year's Anthony Award Nominees, so I'll be reading those nominated for best novel. Check them out:
Trigger City by Sean Chercover
The Brass Verdict by Michael Connelly
Red Knife by William Kent Krueger
The Girl With the Dragon Tattoo by Stieg Larsson
The Cruelest Month by Louise Penny
Finally, for this weekend's Chicago author, I suggest author and renegade publisher Darren Callahan. I met him at a writer's conference and was skeptical when he handed me a home-made book. But I took it home, I read it, and I fell in love. Check out DOCUMENTIA and CITY OF HUMAN REMAINS and order them here. _______________________________________________________
Now for The Chicago Contingent's first contest! The first five people to comment on today's post and include their suggested weekend reading, will receive a free copy of Jack Kilborn's AFRAID. Read about it here!
Wednesday, May 20, 2009
Writer's Block: Getting Down To Business
Whether you're a novelist, short story author, or freelancer, being a writer means owning your own business. You are responsible for obtaining contracts, creating your schedule, and maintaining your contacts. Writing may be an art, but profiting from writing is a business.
Some first steps to running a successful writing business:
- Create a webpage and print business cards. When you meet people at conferences, parties, or other social functions, if their interested in you, they'll ask for a business card. It's not professional to write your name and number down on a cocktail napkin. When they get home, the first thing they'll do is check you out by typing your name into Google. Having a webpage is having some control in what they find. Make sure your page clearly illustrates who you are and what you do. Novelists, print your latest book cover on your business cards and post it on the landing page of your website.
- Get out there and schmooze. Once your webpage is up and your business cards are in hand, it's time to network. For novelists, that means signings, conferences, and bookstore visits. For freelancers, that means e-mailing editors, attending social events, and forming relationships with possible interview subjects. Whatever the end goal, the more people you know, the more opportunities you'll have. Be social, friendly, and don't treat conversations like sales pitches. Form the relationship first, pitch later. Everyone is a potential reader, a potential client, a potential interview subject. Don't write someone off just because you don't think they can do anything for you.
- Learn from the best. When I first started doing publicity, I called and e-mailed a handful of book publicists around Chicago. All of them talked with me, one even met me for coffee to talk about the business. The more you know, the easier it is to avoid common pitfalls. If you're a debut author, talk to authors who have been at it for a while. If you're a freelancer, e-mail a writer from your favorite magazine or newspaper. Most people love to talk about themselves and share their knowledge.
- Get organized. If you're a freelancer, you're juggling numerous deadlines for a variety of publications, not to mention pitching new story ideas and following up with editors. Novelists are marketing their current book, completing edits on their second, and coming up with ideas for their third. There's a lot to keep track of. Utilize Excel, Outlook, and other programs to ensure you stay on task and meet deadlines. Forming daily to-do lists isn't a bad idea either. Keep a filing system to keep track of contracts, article payments, and clips.
- Plan ahead. If you want to make it as a freelancer, you should be pitching every day. Even if you're swamped with deadlines, you should still plan ahead and solicit future assignments. If you're an author, make sure you send out ARCs to reviewers and the media as soon as their available. Book reviews have a long turnaround time, especially with the diminished space in print publications. For short stories, it can be a up to a year from acceptance to publishing, and payment can be even longer. Complete the immediate tasks, but everyday, you should be planting seeds for the future.
Treat the act of writing as an art, but everything else should be treated as a business. Ultimately, you're selling a product (book, short story) or service (writing), and when it comes to sales, professionalism goes a long way.
Monday, May 18, 2009
Must-See Monday
Looks like weeknights are busier for fiction fans! Check out this week's must-sees:
RUI: Reading Under The Influence is on a special night this month: Monday, May 18th at 7:00pm at Sheffield's (3258 N. Sheffield). If you've never attended RUI, definitely check it out. It's one of Chicago's most lively reading series. A reader takes a shot, reads a portion of published work (usually with a theme) then asks the audience trivia questions before downing another shot. Correct answers get drink tickets and free books! Tonight's readers include Joe Meno, John Berger, Julia Borcherts, Rob Duffer, Jesse Jordan, Gabriel Levinson and Amy Guth.
Writer Brian Flitsch joins musician Keith Hampton at Homolatte on Tuesday, June 19th at 7:30pm. This bi-monthly GLBT reading series meets at Big Chicks (5024 N. Sheridan)
Local Authors night at Book Cellar (4736 N. Lincoln) on Wednesday, May 20 at 7:00pm. Authors Jamie Freveletti, Gillian Flynn and Lenny Kleinfeld will be signing copies of their latest novels.
If music is more your thing, check out Tribune music critic Greg Kot at the Lincoln Park Borders (2817 N. Clark) also on Wednesday, May 20 at 7:00pm. Kot will be signing copies of RIPPED, his book about the digital music industry.
RUI: Reading Under The Influence is on a special night this month: Monday, May 18th at 7:00pm at Sheffield's (3258 N. Sheffield). If you've never attended RUI, definitely check it out. It's one of Chicago's most lively reading series. A reader takes a shot, reads a portion of published work (usually with a theme) then asks the audience trivia questions before downing another shot. Correct answers get drink tickets and free books! Tonight's readers include Joe Meno, John Berger, Julia Borcherts, Rob Duffer, Jesse Jordan, Gabriel Levinson and Amy Guth.
Writer Brian Flitsch joins musician Keith Hampton at Homolatte on Tuesday, June 19th at 7:30pm. This bi-monthly GLBT reading series meets at Big Chicks (5024 N. Sheridan)
Local Authors night at Book Cellar (4736 N. Lincoln) on Wednesday, May 20 at 7:00pm. Authors Jamie Freveletti, Gillian Flynn and Lenny Kleinfeld will be signing copies of their latest novels.
If music is more your thing, check out Tribune music critic Greg Kot at the Lincoln Park Borders (2817 N. Clark) also on Wednesday, May 20 at 7:00pm. Kot will be signing copies of RIPPED, his book about the digital music industry.
Friday, May 15, 2009
Weekend Reading
This weekend, be sure to pick up a copy of Andrew Grant's debut novel, EVEN. He's a talented writer, a really nice guy, and I have a feeling he's going to go far in this business. His series protagonist, David Trevellyan, is a Royal Navy Intelligence operative who's been set up for murder. He's used to working undercover and getting out of sticky situations, but when his bosses in London turn their backs on him and he's handed over to the Feds, Trevellyan must act alone to clear his name and seek justice.
This week, I noticed the The Outfit Collective has added a few more authors to their queue, including Laura Caldwell and David Ellis. Both are talented authors, so if you're not familiar with their work, check them out. My favorites are THE GOOD LIAR by Laura Caldwell and JURY OF ONE by David Ellis.
Finally, for all you authors out there, be sure to pick up Lissa Warren's SAVVY AUTHOR'S GUIDE TO BOOK PUBLICITY. It's a must-have for any author or newbie publicist attempting a successful publicity campaign.
This week, I noticed the The Outfit Collective has added a few more authors to their queue, including Laura Caldwell and David Ellis. Both are talented authors, so if you're not familiar with their work, check them out. My favorites are THE GOOD LIAR by Laura Caldwell and JURY OF ONE by David Ellis.
Finally, for all you authors out there, be sure to pick up Lissa Warren's SAVVY AUTHOR'S GUIDE TO BOOK PUBLICITY. It's a must-have for any author or newbie publicist attempting a successful publicity campaign.
Wednesday, May 13, 2009
Writer's Block: The Online Campaign
Most advance reading copies I receive come with an insert or blurb about the book's marketing campaign. I'm not sure why this would be helpful to a reviewer, but I read them anyway. The latest trend I've been noticing is the "Online Marketing Campaign", and I'm not surprised.
Where marketing teams and publicists used to hit print publications, TV, and radio, they're now hitting blogs, online papers, newsletters, and using e-mail blasts to promote a book. They're focused on website hits, e-mail lists, and uploading book trailers to YouTube. Is this more effective than other promotions? Hard to say. One thing's for sure, it's a hell of a lot cheaper.
Web-based promotion costs very little. There's no toner, no paper, no postage or shipping costs. Web advertising is far cheaper than print, but most publishers won't pay for advertising at all. They'll focus on contacting e-zine editors and bloggers to interview authors or write feature articles instead. Why buy space on the web when you can get it for free?
There are many pros to web campaigns other than cost. You don't have to work on web-based campaigns during normal business hours. The web never closes. Once something is up on the web, it's there forever, unlike newspapers and magazines that get recycled or TV interviews that only last a few minutes. The web publicity sticks around until someone deletes it, which means it usually stays there forever.
The last major appeal to the web campaign, is the ability to track traffic. Using StatCounter or Google Analytics, you can see if a blog post or online article brought people to your website or to IndieBound and Amazon. It's a lot harder to see the effects of a magazine article or radio interview.
As print newspapers die out, so will the print marketing campaigns. Marketing and publicity follow the trend, and so far, the trend is online.
Two good examples of this type of campaign are J.A. Konrath aka Jack Kilborn and Jamie Freveletti. Instead of beginning with a traditional book tour to promote his latest book, Konrath did a blog tour, appearing on a different blog everyday in March. He is also giving away a free e-novella, hoping that if he gives away a free taste, people will go out and buy more. Jamie Freveletti's debut novel is about an ultra-marathon runner, so she's been appearing on various running blogs. Her book trailer is also being hosted on various websites, many of which are running related rather than literary.
As a reader, notice where you're learning about book releases or new authors. If you're reading this blog, chances are you get most of your info from the web. As a published author, think about the best, most efficient, and cost effective way to reach the widest possible audience. Chances are, it will be with an online marketing campaign.
Where marketing teams and publicists used to hit print publications, TV, and radio, they're now hitting blogs, online papers, newsletters, and using e-mail blasts to promote a book. They're focused on website hits, e-mail lists, and uploading book trailers to YouTube. Is this more effective than other promotions? Hard to say. One thing's for sure, it's a hell of a lot cheaper.
Web-based promotion costs very little. There's no toner, no paper, no postage or shipping costs. Web advertising is far cheaper than print, but most publishers won't pay for advertising at all. They'll focus on contacting e-zine editors and bloggers to interview authors or write feature articles instead. Why buy space on the web when you can get it for free?
There are many pros to web campaigns other than cost. You don't have to work on web-based campaigns during normal business hours. The web never closes. Once something is up on the web, it's there forever, unlike newspapers and magazines that get recycled or TV interviews that only last a few minutes. The web publicity sticks around until someone deletes it, which means it usually stays there forever.
The last major appeal to the web campaign, is the ability to track traffic. Using StatCounter or Google Analytics, you can see if a blog post or online article brought people to your website or to IndieBound and Amazon. It's a lot harder to see the effects of a magazine article or radio interview.
As print newspapers die out, so will the print marketing campaigns. Marketing and publicity follow the trend, and so far, the trend is online.
Two good examples of this type of campaign are J.A. Konrath aka Jack Kilborn and Jamie Freveletti. Instead of beginning with a traditional book tour to promote his latest book, Konrath did a blog tour, appearing on a different blog everyday in March. He is also giving away a free e-novella, hoping that if he gives away a free taste, people will go out and buy more. Jamie Freveletti's debut novel is about an ultra-marathon runner, so she's been appearing on various running blogs. Her book trailer is also being hosted on various websites, many of which are running related rather than literary.
As a reader, notice where you're learning about book releases or new authors. If you're reading this blog, chances are you get most of your info from the web. As a published author, think about the best, most efficient, and cost effective way to reach the widest possible audience. Chances are, it will be with an online marketing campaign.
Monday, May 11, 2009
Must-See Monday
May is a busy month for Crime Fiction, lots of new releases. The best part about this week is the debut authors. Be sure to check them out!
Debut author Andrew Grant launches his novel EVEN at the Clybourn Barnes & Noble (1441 W. Webster) Tuesday, May 12th at 7:30pm. He's a talented author and a really nice guy, so it should be a fun evening.
Debut author Jamie Freveletti signs copies of her book RUNNING FROM THE DEVIL at the Oak Brook Borders (1500 W. 16th st.) Wednesday, May 13th at 7:00pm.
Don't feel like heading out to the burbs? She's also hosting a talk at Fleet Feet (1620 N. Wells) on Friday, May 15th at 7:00pm with 3-time Olympian Tim Seaman.
This American Life contributor Cheryl Wagner reads from her new book PLENTY OF SUCK TO GO AROUND: A Memoir of Floods, Fires, Parades and Plywood at Quimby's (1854 W. North Ave.) Saturday, May 16th at 7:00pm.
Debut author Andrew Grant launches his novel EVEN at the Clybourn Barnes & Noble (1441 W. Webster) Tuesday, May 12th at 7:30pm. He's a talented author and a really nice guy, so it should be a fun evening.
Debut author Jamie Freveletti signs copies of her book RUNNING FROM THE DEVIL at the Oak Brook Borders (1500 W. 16th st.) Wednesday, May 13th at 7:00pm.
Don't feel like heading out to the burbs? She's also hosting a talk at Fleet Feet (1620 N. Wells) on Friday, May 15th at 7:00pm with 3-time Olympian Tim Seaman.
This American Life contributor Cheryl Wagner reads from her new book PLENTY OF SUCK TO GO AROUND: A Memoir of Floods, Fires, Parades and Plywood at Quimby's (1854 W. North Ave.) Saturday, May 16th at 7:00pm.
Friday, May 08, 2009
Weekend Reading
Be sure to pick up RUNNING FROM THE DEVIL by Chicago author, Jamie Freveletti. I'm a little bias as Jamie is a friend and colleague, but I wouldn't recommend something that isn't good. RUNNING is a balls-out action thriller that is easily read in one sitting. Ultra-marathoner Emma Caldridge's plane is downed in the jungles of Columbia and it is her athletic prowess that allows her to escape. While there is the immediate conflict (how will she make it out alive?) there is also the underlying puzzle of why this plane was hijacked and what the hijackers want with Emma. This debut novel was chosen as the May Indie Notable Book.
In the mood for something slower paced? I recently finished Richard Price's LUSH LIFE, though I should have read it ages ago when it first came out. Price has always been a master at capturing setting, but he has outdone himself with this depiction of New York's Lower East side. The novel contains a large cast of characters and it's almost as if they're passing around video camera, each having an opportunity to tell their story. LUSH LIFE may be a slower read than most mysteries, but the writing is just as gripping.
Since SANCTUARY by Ken Bruen releases next week, #7 in the Jack Taylor series, I'd spend this weekend reading CROSS, which is #6. Ken Bruen is a talented writer and Taylor is a great series character. If you're not familiar, start at the beginning with THE GUARDS.
In the mood for something slower paced? I recently finished Richard Price's LUSH LIFE, though I should have read it ages ago when it first came out. Price has always been a master at capturing setting, but he has outdone himself with this depiction of New York's Lower East side. The novel contains a large cast of characters and it's almost as if they're passing around video camera, each having an opportunity to tell their story. LUSH LIFE may be a slower read than most mysteries, but the writing is just as gripping.
Since SANCTUARY by Ken Bruen releases next week, #7 in the Jack Taylor series, I'd spend this weekend reading CROSS, which is #6. Ken Bruen is a talented writer and Taylor is a great series character. If you're not familiar, start at the beginning with THE GUARDS.
Wednesday, May 06, 2009
Writer's Block: From Premise to Plot
Most of my book ideas start from a premise: hypocrisy of ultra-orthodox Jews in Israel, a reformed prostitute living on the north shore, tagging crews in Chicago. These are ideas, bases from which stories can grow, not plot. The premise is the who, what, when, where and why of your story. Plot is the how. The plot is how your story ideas and characters get from point A to point B. Novel premises and ideas come all the time, usually without effort. Plot takes time, craft, and lots of thought.
The process of starting a novel can be daunting. You have an idea, you have a few characters, maybe you even know how the story is going to end. But where do you go from there? Do you start writing and see where the story takes you? Or do you outline first, plan ahead?
The answers are different for every writer, but over time, I've grown quite fond of outlining. My first two books had all types of structure problems and I would have loved to figure all that out before I spent months writing hundreds of pages that ended up in the trash. I don't outline in great detail, so much of the plot changes as I go. But the core points remain the same, which allows me to keep focus and hopefully minimize future revision.
There are many different ways to outline. Some writers use dry erase boards, others use post-its. I've seen a few use enormous rolls of butcher paper. A few years ago, I covered my dining room wall with index cards. I'm a visual person; I need to see my story and be able to rearrange it before my eyes. For others, it's enough to take notes or mentally craft the structure. Whichever method you choose, remember the following:
The process of starting a novel can be daunting. You have an idea, you have a few characters, maybe you even know how the story is going to end. But where do you go from there? Do you start writing and see where the story takes you? Or do you outline first, plan ahead?
The answers are different for every writer, but over time, I've grown quite fond of outlining. My first two books had all types of structure problems and I would have loved to figure all that out before I spent months writing hundreds of pages that ended up in the trash. I don't outline in great detail, so much of the plot changes as I go. But the core points remain the same, which allows me to keep focus and hopefully minimize future revision.
There are many different ways to outline. Some writers use dry erase boards, others use post-its. I've seen a few use enormous rolls of butcher paper. A few years ago, I covered my dining room wall with index cards. I'm a visual person; I need to see my story and be able to rearrange it before my eyes. For others, it's enough to take notes or mentally craft the structure. Whichever method you choose, remember the following:
- Focus on internal plot points as well as external. Better yet, plan how the two weave together.
- Think in terms of pages. Once you have the main turning points figured out, think about where they come into the story. You don't want your first major turning point happening halfway through the book.
- Think about different possible scenarios. There are many ways to kill a person, for a P.I. to discover a crucial piece of evidence, or for two people to come together. Think of a few different ways to achieve the same goal and weigh the pros and cons of each. You may run into a problem during the writing that requires a plan B.
- Run the outline by your writers group. They'll definitely have questions, concerns and feedback about your plot structure. Much better to hear it in the beginning phases rather than 200 pages into the writing.
- Know the ending, or at least have an idea of it. If you don't know the ending, your writing will lack focus. You want every chapter, every scene, every paragraph, to drive the plot towards your end goal. With the exception of some literary works, I'd say it's impossible to write a book with a tightly woven plot without knowing the ending ahead of time.
Writing a novel is far less daunting if you have a plan. It's no fun to stare at a blank page for an hour, thinking about what you're going to write. With an outline, you know exactly where you're going before you even turn on your computer. Know that scenes will change, plot points may shift, and that's okay, as long as you've spend time thinking about the structure of your story and where you want it to go. Just because you have a premise, doesn't mean you have a plot.
Monday, May 04, 2009
Must-See Monday
A slower week for bookies, but remember it's quality, not quantity. And the events listed are definitely quality:
Story prize nominee, Joe Meno, reads from his new novel THE GREAT PERHAPS at Quimby's Bookstore (1854 W. North Ave.) Thursday, May 7 at 7:00pm. Meno is a gifted writer and it's always a pleasure to hear him read.
Chicago Dramatists (1105 W. Chicago) preform works-in-progress Saturday, May 9 at 2:00pm. Though I myself have yet to attend this weekly reading series, I have heard good things.
Second City/Third Person is a new reading series held at Book Cellar (4736 N. Lincoln) Saturday, May 9, 7pm. All stories are written in the third person will highlight a different street each month. This month, stories will relate to Western Ave.
Story prize nominee, Joe Meno, reads from his new novel THE GREAT PERHAPS at Quimby's Bookstore (1854 W. North Ave.) Thursday, May 7 at 7:00pm. Meno is a gifted writer and it's always a pleasure to hear him read.
Chicago Dramatists (1105 W. Chicago) preform works-in-progress Saturday, May 9 at 2:00pm. Though I myself have yet to attend this weekly reading series, I have heard good things.
Second City/Third Person is a new reading series held at Book Cellar (4736 N. Lincoln) Saturday, May 9, 7pm. All stories are written in the third person will highlight a different street each month. This month, stories will relate to Western Ave.
Friday, May 01, 2009
Weekend Reading
There is no doubt what I'm reading this weekend if I can get my hands on it, and that's Joe Meno's latest novel THE GREAT PERHAPS. It wasn't scheduled to come out until 5/11, but Amazon, Indie Bound, and B&N all seem to have it in stock. His new book tells the story of the Casper family, husband and wife scientists with two daughters living in Chicago. Though I haven't read his latest, I have read everything else this man has ever written, and exploring human relationships and human nature with great insight and a dash of humor is what Meno does best.
May looks like it's going to be a hot month for crime fiction: Jamie Freveletti, Andrew Grant, Lee Child, Michael Connelly, Ken Bruen and John Hart all have novels coming out. While you wait, check out their previous books, and if the author writes series, try to catch up!
Also, today has been declared Buy Indie Day. Head out to your local indepnedent bookstore and buy a book!
May looks like it's going to be a hot month for crime fiction: Jamie Freveletti, Andrew Grant, Lee Child, Michael Connelly, Ken Bruen and John Hart all have novels coming out. While you wait, check out their previous books, and if the author writes series, try to catch up!
Also, today has been declared Buy Indie Day. Head out to your local indepnedent bookstore and buy a book!
Wednesday, April 29, 2009
Who's In Your Network?
The more I learn about the wacky world of publishing, the more I see the importance of networking. Too often, book sales, rave reviews, and successful marketing campaigns are based, not on what you know, but who you know.
If you're an author with a book coming out, especially a debut novel, you have one goal: get the word out. Your book won't sell if people don't know about it. How do you spread the word? You reach out to your network:
Family - Your parents, siblings, and spouse are givens, but make sure you reach out to your extended family as well. They'll definitely buy your book, but more importantly, they'll tell their friends and coworkers about it.
Friends and Acquaintances- Friends are another given, they're definitely going to buy your book and spread the word, but acquaintances are trickier. Depending on how well you know these people, they may or may not buy your book. How do you persuade them? Invite them to your launch party or other social event. Hopefully, after a few drinks they're more inclined to pick up a copy.
Coworkers - Most of us have day jobs, but if you're fortunate enough to be a career novelist, reach out to your spouses coworkers. Don't be timid about bringing your two lives together, people are usually interested. Post a flyer for your signing in the punch room or e-mail coworkers announcing your book's release.
Writing Acquaintances - These are the people you've met at conferences, signings or other literary events. You mostly correspond via e-mail and don't correspond too often. Again, don't be timid about announcing your book's release or inviting them to a signing. Chances are, they're planning on doing the same when their book comes out. If it's been a while, remind them when and where you met.
Online Acquaintances - These are your followers on Twitter, your Facebook and Myspace friends, your LinkedIn connections. Many of these people you've never corresponded with, some of them you don't even know. But that's why they call these social networking sites. They allow people to network without meeting or even communicating. If you're using these platforms, utilize them, and announce every signing, reading, or conference you're attending.
Now that you have identified the people in your network, you can start putting together your mailing list. But how do you make the network grow? A few suggestions:
If you're an author with a book coming out, especially a debut novel, you have one goal: get the word out. Your book won't sell if people don't know about it. How do you spread the word? You reach out to your network:
Family - Your parents, siblings, and spouse are givens, but make sure you reach out to your extended family as well. They'll definitely buy your book, but more importantly, they'll tell their friends and coworkers about it.
Friends and Acquaintances- Friends are another given, they're definitely going to buy your book and spread the word, but acquaintances are trickier. Depending on how well you know these people, they may or may not buy your book. How do you persuade them? Invite them to your launch party or other social event. Hopefully, after a few drinks they're more inclined to pick up a copy.
Coworkers - Most of us have day jobs, but if you're fortunate enough to be a career novelist, reach out to your spouses coworkers. Don't be timid about bringing your two lives together, people are usually interested. Post a flyer for your signing in the punch room or e-mail coworkers announcing your book's release.
Writing Acquaintances - These are the people you've met at conferences, signings or other literary events. You mostly correspond via e-mail and don't correspond too often. Again, don't be timid about announcing your book's release or inviting them to a signing. Chances are, they're planning on doing the same when their book comes out. If it's been a while, remind them when and where you met.
Online Acquaintances - These are your followers on Twitter, your Facebook and Myspace friends, your LinkedIn connections. Many of these people you've never corresponded with, some of them you don't even know. But that's why they call these social networking sites. They allow people to network without meeting or even communicating. If you're using these platforms, utilize them, and announce every signing, reading, or conference you're attending.
Now that you have identified the people in your network, you can start putting together your mailing list. But how do you make the network grow? A few suggestions:
- Attend literary events in your area. Introduce yourself to the organizers, authors, and attendees if appropriate.
- Attend writers conferences. I find this the most effective way to build a network. Of course, it helps if your sociable and don't go up to your room after every panel. Station yourself at the hotel bar and don't be afraid to introduce yourself to people.
- Utilize the social networking sites by obtaining "friends", linking through to your webpage, and updating regularly.
- Join Backspace, an online community of writers. Don't just lurk. The more you post, the more your presence will be known!
- Be friendly, especially to the people you see on a regular basis. Introduce yourself to the barista who fixes your latte every morning, the bookseller where you buy your books, the bartender at your regular watering hole. They'd probably be interested in your book, maybe they'd even schedule or advertise an event.
The concept is simple: you sell more books if more people know about them. You tell the people in your network, they'll tell the people in theirs. So start twittering, handing out business cards, and calling that second cousin you haven't seen in years, because if you have a book coming out, everyone needs to know!
Monday, April 27, 2009
Must See Monday
It looks like a busy week for book fans. All events are free with the exception of 2nd Story. But at least your ticket includes a few glasses of wine!
Twilight Tales at Bourgeois Pig Cafe (738 W. Fullerton) Monday, April 27th at 7:30pm. Tonight, this long running reading series, features Fantasy Fiction students from Columbia College Chicago.
Ghost Factory Release Party at Women and Children First (5233 N. Clark) Wednesday, April 29 at 7:00pm. The celebration of the zine's release will include readings by Kathie Bergquist, Christina Correa, and others.
The 2nd Story festival continues at Webster's Wine Bar (1480 W. Webster) Thursday April 30, Friday May 1, Saturday May 2 and Sunday May 3. Tickets required. Doors open at 7pm. Ticket price includes wine flight. If you've never attended one of these readings, the combination of stories and music is fantastic and they always showcase talented writers.
SUBWAY ART Release Party at Novem (1104 N. Ashland). Friday, May 1 5-10pm. Celebrating the 25th anniversary of the book which documents early graffiti art. Martha Cooper will be signing copies.
Free Comic Book Day at Challenger's Comics and Conversation (1845 N. Western) Saturday, May 2 noon-3pm. Image Comics co-founder Erik Larsen will be signing.
Dorothy Allison and Thomas Glave at Women and Children First (5233 N. Clark). Sunday, May 3 at 4:30pm. They will be reading from a new collection of short stories, THE TORTURER'S WIFE.
Twilight Tales at Bourgeois Pig Cafe (738 W. Fullerton) Monday, April 27th at 7:30pm. Tonight, this long running reading series, features Fantasy Fiction students from Columbia College Chicago.
Ghost Factory Release Party at Women and Children First (5233 N. Clark) Wednesday, April 29 at 7:00pm. The celebration of the zine's release will include readings by Kathie Bergquist, Christina Correa, and others.
The 2nd Story festival continues at Webster's Wine Bar (1480 W. Webster) Thursday April 30, Friday May 1, Saturday May 2 and Sunday May 3. Tickets required. Doors open at 7pm. Ticket price includes wine flight. If you've never attended one of these readings, the combination of stories and music is fantastic and they always showcase talented writers.
SUBWAY ART Release Party at Novem (1104 N. Ashland). Friday, May 1 5-10pm. Celebrating the 25th anniversary of the book which documents early graffiti art. Martha Cooper will be signing copies.
Free Comic Book Day at Challenger's Comics and Conversation (1845 N. Western) Saturday, May 2 noon-3pm. Image Comics co-founder Erik Larsen will be signing.
Dorothy Allison and Thomas Glave at Women and Children First (5233 N. Clark). Sunday, May 3 at 4:30pm. They will be reading from a new collection of short stories, THE TORTURER'S WIFE.
Friday, April 24, 2009
Weekend Reading
Need a dose of Chicago crime fiction? Check out Kris Nelscott's DAYS OF RAGE, featuring Smokey Dalton, an off-the-books building inspector turned P.I. when he discovers human remains in one of his buildings. Set in late sixties Chicago, Nelscott expertly weaves truth and fiction, using the historical context to further the story.
Craving something different? Pick up THE BOY DETECTIVE FAILS by Joe Meno. His beautiful and unique writing style steps outside the boundaries of conventional fiction. A great mix of dark prose, magical realism, and a small dash of humor, this novel is unlike any other.
Feel like revisiting a classic? Dig out your old copy of Upton Sinclair's THE JUNGLE, an honest, gritty novel about the stockyards on Chicago's south side.
Want something new? James Grippando's latest novel, INTENT TO KILL, hits bookstores next week. Protagonist Ryan James, a minor league baseball player one game away from the majors, tragically loses his wife in a car accident. But years later, he discovers that his wife's death wasn't an accident, and he is determined to find the truth. A very basic premise, but the characters add great depth to the simple story.
Craving something different? Pick up THE BOY DETECTIVE FAILS by Joe Meno. His beautiful and unique writing style steps outside the boundaries of conventional fiction. A great mix of dark prose, magical realism, and a small dash of humor, this novel is unlike any other.
Feel like revisiting a classic? Dig out your old copy of Upton Sinclair's THE JUNGLE, an honest, gritty novel about the stockyards on Chicago's south side.
Want something new? James Grippando's latest novel, INTENT TO KILL, hits bookstores next week. Protagonist Ryan James, a minor league baseball player one game away from the majors, tragically loses his wife in a car accident. But years later, he discovers that his wife's death wasn't an accident, and he is determined to find the truth. A very basic premise, but the characters add great depth to the simple story.
Wednesday, April 22, 2009
Writer's Block: E-books
Recently, the Pulitzer Prize board expanded their guidelines to include online newspapers. One of the most prestigious journalism awards can now be given to a completely electronic newspaper.
When I started freelancing, online publications were easier to break into. They have lower overhead and no space limitations, but they weren't as prestigious. It was more impressive to be in print. The Pulitzer board has taken a step to change that.
So much in publishing has to do with money. Advances, marketing campaigns, sales, all come down to money. And these days, there's not much of it to go around. But what type of book costs nothing to publish? An e-book.
For years, everyone has been skeptical of the e-book, myself included. I enjoy holding the book I'm reading, I enjoy being able to stick a mass market paperback in my pocket for a long train ride, I like seeing the cover art and turning the pages. But I feel the same way about newspapers, and my kind are a dying breed.
What if the Pulitzer Prize board expanded its guidelines even further? What if they included books which were only published electronically? What if one of those books won the award? Would people go out and purchase a Kindle or Sony reader so they could read the latest Pulitzer Prize winning novel? Would e-books gain new recognition and a new audience, making paper books obsolete?
If an e-book wins a Pulitzer, I am confident that it will be the bestselling e-book on the market to date. It may even sell better than some of the bestselling print books. But paper books becoming obsolete? I think that could never happen. I believe that actual books will always have a place in this industry. But I used to say the same thing about newspapers. Now I'm not so sure.
What I do know is that e-books will gain recognition and popularity. More e-books will be published because of the low cost and, for the same reason, more people will be reading them. Why buy a $25 hardcover when you can purchase the e-book for $5? Also, as our society continues to become more environmentally aware, we'll prefer e-books because they use minimal natural resources.
Recognition is the first step to shifting the market. Once e-books are recognized for quality writing and publishing, people will begin purchasing them. Prestigious award committees, such as the Pulitzer, have the influence to make that shift. Will paper book sales plummet because of e-books? Probably not. But I do think electronic publishing will quickly improve and become more widespread, and more people will be downloading their reading material.
When I started freelancing, online publications were easier to break into. They have lower overhead and no space limitations, but they weren't as prestigious. It was more impressive to be in print. The Pulitzer board has taken a step to change that.
So much in publishing has to do with money. Advances, marketing campaigns, sales, all come down to money. And these days, there's not much of it to go around. But what type of book costs nothing to publish? An e-book.
For years, everyone has been skeptical of the e-book, myself included. I enjoy holding the book I'm reading, I enjoy being able to stick a mass market paperback in my pocket for a long train ride, I like seeing the cover art and turning the pages. But I feel the same way about newspapers, and my kind are a dying breed.
What if the Pulitzer Prize board expanded its guidelines even further? What if they included books which were only published electronically? What if one of those books won the award? Would people go out and purchase a Kindle or Sony reader so they could read the latest Pulitzer Prize winning novel? Would e-books gain new recognition and a new audience, making paper books obsolete?
If an e-book wins a Pulitzer, I am confident that it will be the bestselling e-book on the market to date. It may even sell better than some of the bestselling print books. But paper books becoming obsolete? I think that could never happen. I believe that actual books will always have a place in this industry. But I used to say the same thing about newspapers. Now I'm not so sure.
What I do know is that e-books will gain recognition and popularity. More e-books will be published because of the low cost and, for the same reason, more people will be reading them. Why buy a $25 hardcover when you can purchase the e-book for $5? Also, as our society continues to become more environmentally aware, we'll prefer e-books because they use minimal natural resources.
Recognition is the first step to shifting the market. Once e-books are recognized for quality writing and publishing, people will begin purchasing them. Prestigious award committees, such as the Pulitzer, have the influence to make that shift. Will paper book sales plummet because of e-books? Probably not. But I do think electronic publishing will quickly improve and become more widespread, and more people will be downloading their reading material.
Monday, April 20, 2009
Must-See Monday
Welcome to the first installment of Must-See Mondays! Lots of great events going on this week:
Literary Gangs of Chicago at Museum of Contemporary Art (220 E. Chicago). Tuesday, April 21 at 6:30pm. Features slam poetry artists from Mental Graffiti.
Poetry Night at Book Cellar (4736 N. Lincoln). Wednesdy, April 22 at 7:00pm. Includes readings by local poets, including Robert McDonald, author of Field Guide to Gay and Lesbain Chicago.
Donna Seamon at Harold Washington Library (400 S. State). Wednesday, April 22 at 6:00pm. Booklist editor and Open Books host discusses the new book HOME GROUND: Language for an American Landscape.
2nd Story Literary Festival at Webster's Wine Bar (1480 W. Webster). Thursday, April 23 at 6:45pm. Authors read their work accompanied to music. The $18 ticket includes wine flight.
Friday, April 17, 2009
New Skin, New Format
When I first started this blog, there wasn't a true focus. I knew I wanted to blog about writing, publishing, and reviewing, but really the posts were whatever I was thinking about that week. After two and a half years of musing, I've decided it's time to focus the content.
This is The Chicago Contingent, and therefore posts will have a predominantly Chicago slant. I also want more structure, and therefore, will blog three times a week on the following subjects:
This is The Chicago Contingent, and therefore posts will have a predominantly Chicago slant. I also want more structure, and therefore, will blog three times a week on the following subjects:
- Must-See Mondays. This will be a listing of signings, readings, and other literary events going on that week. Hopefully this will encourage people to get more involved in the literary community and increase readership.
- Writer's Block Wednesdays. Because I still love talking about the craft of writing, every Wednesday I will blog about reading and writing. I also may use this day to conduct Q&A's with authors and other industry people.
- Weekend Reading. Every Friday I will recommend one or two books to read over the weekend. I will continue to promote Chicago writers here, and the books I recommend won't necessarily be new releases. This will simply be an attempt to answer that nagging question, "Which book should I read next?"
Hopefully this new format will do more for the literary community, especially in Chicago. I also encourage people to submit event listings for MUST-SEE MONDAYS or recommendations for WEEKEND READING.
Thank you and I hope everyone enjoys the new Chicago Contingent!
Wednesday, April 08, 2009
Curing Writer's Block
In the past few weeks, numerous writing friends have told me they are stuck in their stories. Either they are unable to get into their characters or they've reached a plot point they can't overcome or the novel idea just isn't gripping them anymore. Every writer reaches this point at one time or another, but hopefully, I can offer a cure.
The Problem: Unsure of what happens next. You're plugging away, and all of a sudden, you realize you don't know what happens next. Your characters have reached a fork in the road and you don't know which path they should take. You've tried a few different options, but none of them seem to work. Your plot is at a standstill.
The Fix: Dennis Lehane said that if he's blocked, it's usually because of a problem a hundred pages back. I tend to agree. Step back from your story and look at it as a whole. Write major plot points on post-it notes or a dry erase board. Rearrange, add, or take away plot points and see how it affects the overall story. Do you need to add a subplot or take one away? Are the characters' internal struggles being addressed? Stepping back and looking at the plot structure is the only way to find the kinks. Once those are addressed, the story should speed right along.
The Problem: The Inner Censor. Every writer has one. We all have a little beep, bell, or voice inside our heads that sounds off when we're writing. It can be caused by self-criticism, fear of what readers will think, lack of confidence, etc. Some of the most poignant scenes are the most difficult to write and can easily trip you up.
The Fix: Journaling or stream of consciousness writing is the quickest way I know to overcome the inner censor. Write without audience in mind. No one is going to read it. Let your voice go. Don't stop writing, even if you have nothing to say. Attempt to write continuously for five minutes. See what comes out of it. You may be surprised how much you can overcome when you're not thinking about audience.
Alternative: Sometimes the inner censor goes off due to lack of confidence. I often get stuck writing police procedural scenes, because I know very little about the subject. If you are having difficulty writing a scene due to lack of confidence, research is the quickest fix. Read cop blogs, call your local precinct, read one of the hundreds of books about police procedures. Having the knowledge will give you the confidence to write the scene and move forward.
The Problem: Sick of the story. This is bound to happen. You work on a novel for a year, sometimes two, and eventually, you don't want to even think about your story anymore. You're getting ideas for other novels that sound more exciting, and finishing your current project is like pulling teeth.
The Fix: If you're not excited about your story, readers won't be either. You need to figure out a way to renew the magic. Think back to when you first formulated the idea. What made you want to write about these characters? What intrigued you about this story? If you don't know the answers to these questions, then you may want to abandon this project for a while, because something isn't working. Otherwise, try to bring back the passion and need to tell this particular story. Write a few more character sketches or explore new plot possibilities. Hopefully this will rekindle the excitement you felt when you first began writing. Also, you can take a break from the manuscript and work on your two-line elevator pitch. Finding a way to intrigue potential readers using minimal words can renew your own passion for the story.
The Problem: Writing Stinks. You've reread what you've written and it all seems flat, unexciting and uninteresting.
The Fix: Thinking outside the box and trying new writing methods is a great way to liven up a drab manuscript. Try writing a scene from a different character's viewpoint. Write the scene as a letter, or as a script. Write a character's dream or childhood memory. These exercises often bring out new ideas and give the writing new depth.
If you're currently blocked, hopefully I've offered a possible fix. Feel free to offer up your own writing problems, as long as you include the cure!
The Problem: Unsure of what happens next. You're plugging away, and all of a sudden, you realize you don't know what happens next. Your characters have reached a fork in the road and you don't know which path they should take. You've tried a few different options, but none of them seem to work. Your plot is at a standstill.
The Fix: Dennis Lehane said that if he's blocked, it's usually because of a problem a hundred pages back. I tend to agree. Step back from your story and look at it as a whole. Write major plot points on post-it notes or a dry erase board. Rearrange, add, or take away plot points and see how it affects the overall story. Do you need to add a subplot or take one away? Are the characters' internal struggles being addressed? Stepping back and looking at the plot structure is the only way to find the kinks. Once those are addressed, the story should speed right along.
The Problem: The Inner Censor. Every writer has one. We all have a little beep, bell, or voice inside our heads that sounds off when we're writing. It can be caused by self-criticism, fear of what readers will think, lack of confidence, etc. Some of the most poignant scenes are the most difficult to write and can easily trip you up.
The Fix: Journaling or stream of consciousness writing is the quickest way I know to overcome the inner censor. Write without audience in mind. No one is going to read it. Let your voice go. Don't stop writing, even if you have nothing to say. Attempt to write continuously for five minutes. See what comes out of it. You may be surprised how much you can overcome when you're not thinking about audience.
Alternative: Sometimes the inner censor goes off due to lack of confidence. I often get stuck writing police procedural scenes, because I know very little about the subject. If you are having difficulty writing a scene due to lack of confidence, research is the quickest fix. Read cop blogs, call your local precinct, read one of the hundreds of books about police procedures. Having the knowledge will give you the confidence to write the scene and move forward.
The Problem: Sick of the story. This is bound to happen. You work on a novel for a year, sometimes two, and eventually, you don't want to even think about your story anymore. You're getting ideas for other novels that sound more exciting, and finishing your current project is like pulling teeth.
The Fix: If you're not excited about your story, readers won't be either. You need to figure out a way to renew the magic. Think back to when you first formulated the idea. What made you want to write about these characters? What intrigued you about this story? If you don't know the answers to these questions, then you may want to abandon this project for a while, because something isn't working. Otherwise, try to bring back the passion and need to tell this particular story. Write a few more character sketches or explore new plot possibilities. Hopefully this will rekindle the excitement you felt when you first began writing. Also, you can take a break from the manuscript and work on your two-line elevator pitch. Finding a way to intrigue potential readers using minimal words can renew your own passion for the story.
The Problem: Writing Stinks. You've reread what you've written and it all seems flat, unexciting and uninteresting.
The Fix: Thinking outside the box and trying new writing methods is a great way to liven up a drab manuscript. Try writing a scene from a different character's viewpoint. Write the scene as a letter, or as a script. Write a character's dream or childhood memory. These exercises often bring out new ideas and give the writing new depth.
If you're currently blocked, hopefully I've offered a possible fix. Feel free to offer up your own writing problems, as long as you include the cure!
Wednesday, April 01, 2009
Negating My Previous Post
A few weeks ago I blogged about the importance of a protagonist being a hero. I put a book down because the protagonist wasn't redeeming in any way. Yesterday, I picked up FAKE ID by Jason Starr. The main character, Tommy Russo, is a degenerate gambler who lies, cheats, and steals to get what he wants. He is the ultimate asshole: sweet talking a girl into bed then stealing her jewelry in the morning, taking the money out of the safe at work right after his boss told him he was the only employee he trusted, throwing away every last dime he has at the track. He seems to have no morals, no conscience, he has a sense of right and wrong but simply doesn't care. Going by my previous post, I should have put the book down immediately. Instead I read it in one sitting.
FAKE ID is published by Hard Case Crime, a line of mass market pulp novels. When you pick up one of their paperbacks, the ones with the painted cover art portraying seductive women and tough guys with guns, you know what you're in for: sex, violence, and hardboiled crime fiction. In this tradition, the protagonist in FAKE ID is not a detective. Actually, he's the offender in all of the crimes committed in the book. So how can readers be expected to root for a protagonist that's actually a villain? Maybe they're not.
The reason I couldn't stop reading was the suspense of the story. Russo continues to dig himself deeper and deeper, soon finding himself in a hole so deep, it's impossible to climb out. It's not that I was rooting for him; I actually got excited when his plans went awry or it looked like he would be caught. Starr continued to throw obstacles at his character, never made things easy for him, and I couldn't wait to see how he was going to get him out.
All morning, I've been thinking about the difference between this book and the one I put down a few weeks ago. Was it the writing? The story? Or was it because I knew what to expect, that since it was a pulp novel I knew the character would be flawed?
I think the main difference is the writing style and the intentions of the author. Starr is unapologetic in his writing. He writes Russo the way he is without trying to make readers sympathetic. Other authors attempt to make readers understand why their characters are the way they are, try to make you feel sorry for and sympathize with them. I seem to prefer Starr's approach. If your main character is an asshole, make him an asshole. Readers don't have to like him, they only have to like the story. If you want me to care about a character, that's different. I can't care about someone with no morals and no conscience, no matter what happened in their childhood or what circumstances led them to commit so many bad acts.
FAKE ID is a good story, and I enjoyed hearing it. I didn't like the character, I wasn't rooting for him, but I was still eager to see what happened next. But if the book is character driven, if it relies on the internal conflicts of the characters to drive the story forward, then the characters have to be redeeming. They have to be heroes.
More and more I see that the beautiful part of fiction is that there are no rules. I thought I pinned one down only to have it broken a few weeks later. As readers, we can form ideas about what types of books we like and don't like, but there are always going to be one or two that break the rules and disprove our ideas.
FAKE ID is published by Hard Case Crime, a line of mass market pulp novels. When you pick up one of their paperbacks, the ones with the painted cover art portraying seductive women and tough guys with guns, you know what you're in for: sex, violence, and hardboiled crime fiction. In this tradition, the protagonist in FAKE ID is not a detective. Actually, he's the offender in all of the crimes committed in the book. So how can readers be expected to root for a protagonist that's actually a villain? Maybe they're not.
The reason I couldn't stop reading was the suspense of the story. Russo continues to dig himself deeper and deeper, soon finding himself in a hole so deep, it's impossible to climb out. It's not that I was rooting for him; I actually got excited when his plans went awry or it looked like he would be caught. Starr continued to throw obstacles at his character, never made things easy for him, and I couldn't wait to see how he was going to get him out.
All morning, I've been thinking about the difference between this book and the one I put down a few weeks ago. Was it the writing? The story? Or was it because I knew what to expect, that since it was a pulp novel I knew the character would be flawed?
I think the main difference is the writing style and the intentions of the author. Starr is unapologetic in his writing. He writes Russo the way he is without trying to make readers sympathetic. Other authors attempt to make readers understand why their characters are the way they are, try to make you feel sorry for and sympathize with them. I seem to prefer Starr's approach. If your main character is an asshole, make him an asshole. Readers don't have to like him, they only have to like the story. If you want me to care about a character, that's different. I can't care about someone with no morals and no conscience, no matter what happened in their childhood or what circumstances led them to commit so many bad acts.
FAKE ID is a good story, and I enjoyed hearing it. I didn't like the character, I wasn't rooting for him, but I was still eager to see what happened next. But if the book is character driven, if it relies on the internal conflicts of the characters to drive the story forward, then the characters have to be redeeming. They have to be heroes.
More and more I see that the beautiful part of fiction is that there are no rules. I thought I pinned one down only to have it broken a few weeks later. As readers, we can form ideas about what types of books we like and don't like, but there are always going to be one or two that break the rules and disprove our ideas.
Tuesday, March 24, 2009
Jamie Freveletti on RUNNING FROM THE DEVIL
Just posted on YouTube and the Harper Collins website, debut author Jamie Freveletti talks about her thriller novel, RUNNING FROM THE DEVIL. I think these types of films are more effective than book trailers; we see the author talk about their own work rather than watch a voiced-over, dramatization of the book. Check it out!
On Rejection and Negative Feedback
In an industry full of rejections, failures, and unsolicited opinions, it is easy to get discouraged. You slave away at a manuscript for years, only to have it rejected by agents, torn apart by editors, and dogged by reviewers. So why do we do it? Why do we subject the fruits of our labor to such scrutiny? Because it is part of the job, and sometimes, criticism will make us better writers.
Most of the time, we are too close to our work to see its flaws. That is where critique groups, friends and family members come in handy. Agents know the industry, know what's selling, and they'll sometimes pass on well written manuscripts because of market trends. The same is true for publishers and editors. If we all let the rejection letters and negative feedback get to us, there wouldn't be any published writers. We'd all be curled up in the fetal position, sniffling like little children. We handle the negativity by recognizing helpful criticism and developing thick skin to ward off opinions that are less than helpful.
Here are a few ways to handle criticism, whether it be from a fellow writer, reviewer, agent or editor:
Most of the time, we are too close to our work to see its flaws. That is where critique groups, friends and family members come in handy. Agents know the industry, know what's selling, and they'll sometimes pass on well written manuscripts because of market trends. The same is true for publishers and editors. If we all let the rejection letters and negative feedback get to us, there wouldn't be any published writers. We'd all be curled up in the fetal position, sniffling like little children. We handle the negativity by recognizing helpful criticism and developing thick skin to ward off opinions that are less than helpful.
Here are a few ways to handle criticism, whether it be from a fellow writer, reviewer, agent or editor:
- Ask yourself if there is any merit to their comment? Is it something you can use in the future?
- Consider the source. Did some anonymous reviewer trash your book on Amazon? Did your former best friend from high school call you a hack? Or was it your favorite reviewer, or an agent with an excellent track record that deemed your work less than brilliant? If you respect the person's opinion, take their comment to heart. Otherwise, let it go.
- Summon your confidence. Know you have talent. You wouldn't be a writer if you didn't.
- Recognize that an opinion is simply an opinion. One person will tell you one thing and another person will tell you the exact opposite. Know your work, trust your gut, and form an opinion of your own.
It's impossible to go through this industry without rejection and negative feedback. It's part of any creative field. In order to survive it and not get discouraged, it's necessary to maintain confidence and thick skin. Don't like receiving criticism? I suggest considering a career change.
Tuesday, March 17, 2009
From Newbie to Novelist: Interview with J.A. Konrath
As part of his national blog tour to promote his horror novel, AFRAID, J.A. Konrath AKA Jack Kilborn, joins us today to to talk about his journey from newbie to novelist. J.A. has published seven novels and dozens of short stories, essays and magazine articles.
DK: Welcome Joe!
JK: Hi Dana, thanks for having me!
DK: Tell us about the journey from writing your first novel to getting it published.
JK: It was a perilous journey, filled with hundreds of rejections and dozens of bottles of whiskey to help numb the pain of the hundreds of rejections. I wrote nine novels that didn't sell.
The tenth one did. It's called WHISKEY SOUR, and is about a Chicago cop named Jacqueline "Jack" Daniels. So, ultimately, all that whiskey paid off.
DK: Throughout this process, what was the most important lesson you learned regarding publishing?
JK: This is a business, not a lottery. Act like a professional, learn your craft, and never surrender. Also, marry someone sympathetic.
DK:What drew you to writing a series?
JK: A publisher bought the first one and asked if I could write a second one. Series writing is fun. Each of the books in my series is different than the others:
WHISKEY SOUR is a cop thriller that mixes scares and humor.
BLOODY MARY does the same thing, but Jack catches the killer on page 100. So where can it go from there?
RUSTY NAIL has a whole family of serial killers, and a surprising twist.
DIRTY MARTIN has very little violence in it, as opposed to the tons of violence in the previous books. It's about a poisoner.
FUZZY NAVEL takes place in an eight hour period, each minute accounted for. It ends on a cliffhanger.
CHERRY BOMB has Jack chasing the villain from Fuzzy Navel, and fully half of the book is in the killer's point of view.
During the series characters change, get hurt, and some die. There's also a story arc that begins in book #1 and ends with #6. So I get to have all the fun of returning to characters that I love, while dropping them in unique situations for each book.
DK: After six Jack Daniels books, what drew you to writing a standalone horror novel?
JK: Fans asked if I could sustain a scary narrative without any funny parts. AFRAID is the result. It's scary. Maybe too scary. In fact, I don't recommend anyone reading it, because I don't want to be blamed for the nightmares it will cause.
DK: How did writing AFRAID differ from writing the JD series?
JK: AFRAID doesn't have chapters. I didn't want to give the reader a chance to catch their breath or put the book down. It also has zero humor. Most of my other writing is funny. AFRAID isn't funny at all.
DK: What’s the best piece of advice you can give a newbie novelist?
JK: Buy all of my books and copy my style. :) Seriously? Never give up. This business is about persistence. Keep writing, keep reading, keep improving, keep submitting.
For more about Konrath/Kilborn check out his blog, The Newbie's Guide to Publishing. It has some very helpful tips!
DK: Welcome Joe!
JK: Hi Dana, thanks for having me!
DK: Tell us about the journey from writing your first novel to getting it published.
JK: It was a perilous journey, filled with hundreds of rejections and dozens of bottles of whiskey to help numb the pain of the hundreds of rejections. I wrote nine novels that didn't sell.
The tenth one did. It's called WHISKEY SOUR, and is about a Chicago cop named Jacqueline "Jack" Daniels. So, ultimately, all that whiskey paid off.
DK: Throughout this process, what was the most important lesson you learned regarding publishing?
JK: This is a business, not a lottery. Act like a professional, learn your craft, and never surrender. Also, marry someone sympathetic.
DK:What drew you to writing a series?
JK: A publisher bought the first one and asked if I could write a second one. Series writing is fun. Each of the books in my series is different than the others:
WHISKEY SOUR is a cop thriller that mixes scares and humor.
BLOODY MARY does the same thing, but Jack catches the killer on page 100. So where can it go from there?
RUSTY NAIL has a whole family of serial killers, and a surprising twist.
DIRTY MARTIN has very little violence in it, as opposed to the tons of violence in the previous books. It's about a poisoner.
FUZZY NAVEL takes place in an eight hour period, each minute accounted for. It ends on a cliffhanger.
CHERRY BOMB has Jack chasing the villain from Fuzzy Navel, and fully half of the book is in the killer's point of view.
During the series characters change, get hurt, and some die. There's also a story arc that begins in book #1 and ends with #6. So I get to have all the fun of returning to characters that I love, while dropping them in unique situations for each book.
DK: After six Jack Daniels books, what drew you to writing a standalone horror novel?
JK: Fans asked if I could sustain a scary narrative without any funny parts. AFRAID is the result. It's scary. Maybe too scary. In fact, I don't recommend anyone reading it, because I don't want to be blamed for the nightmares it will cause.
DK: How did writing AFRAID differ from writing the JD series?
JK: AFRAID doesn't have chapters. I didn't want to give the reader a chance to catch their breath or put the book down. It also has zero humor. Most of my other writing is funny. AFRAID isn't funny at all.
DK: What’s the best piece of advice you can give a newbie novelist?
JK: Buy all of my books and copy my style. :) Seriously? Never give up. This business is about persistence. Keep writing, keep reading, keep improving, keep submitting.
For more about Konrath/Kilborn check out his blog, The Newbie's Guide to Publishing. It has some very helpful tips!
Thursday, March 12, 2009
Stand On a Platform, Don't Rest On It
If you've attended a writer's conference or workshop, chances are, you've heard authors, agents and editors talk about platform. If you haven't, I believe there are two types of platform:
- Your platform - this is who you are and why you're the best possible person to write your book. For example, I'm a Masters swimmer, USA swimming coach, and certified swim instructor and therefore, have an ideal platform to write a swimming book. It's a convincer, something that gives you authority and makes you memorable.
- Your story's platform - this is a general topic of what your story is about. This is not your elevator pitch and doesn't mention specific characters or plot points. It's a general theme or subject matter that will pique interest and give you a different marketing angle. For example, Gregg Hurwitz's THE PROGRAM was about a man sent to save a girl from a cult. The book documented the methods of brainwashing, how cult leaders recruit members, etc. Therefore, his platform is simply, cults.
A solid, memorable platform lends to easier marketing strategies, which interests editors and agents. To write nonfiction, you must have a platform. How can you write about a subject if you're not an expert on it? But in fiction, having a platform doesn't always seem necessary. I've seen plenty of straightforward police procedurals that were promoted very successfully, without gimmicks or clever marketing angles. Not everyone is a former CIA agent, or cop, or lawyer. Does it help? Of course, but I don't believe having a solid platform is a guarantee for sales.
As always, your first job is to write a good story. You can have the ideal platform, but if the the book isn't well written, it won't sell. However, if your story isn't finalized yet, it's not a bad idea to think about platform during the brainstorming process. The new novel I've been working on is about tagging crews in Chicago. It's a great platform, but that alone is not a story. The story stemmed from an actual event that occurred when I was younger and the characters are based on graffiti artists I knew growing up. The platform grew out of the characters. When you have an idea for a novel or short story, explore the characters and the setting, see if there's a platform waiting to be brought out.
In these tough times, marketing is an enormous factor in book sales. You can have a well written, interesting novel, but if it's not marketable, chances are, it won't sell. The reverse is true too. You can have a marketable concept, but if it's not well executed, it won't be picked up. Writing a novel solely based on a platform is not a good idea, but creating a platform for you or your story, is.
Try brainstorming about your platform. What jobs, hobbies or subject matters are you expert in? What about you is different, interesting or makes you stand out? There is probably more there than you think.
Wednesday, March 04, 2009
Novelists Inc. Blog
Want more info on reading and reviewing? Check out my blog post over at Novelists, Inc.
Monday, March 02, 2009
Anti-hero or antagonist?
This weekend, I picked a book off the "To Be Read" pile with a great premise: two guys make a living robbing drug dealers and what happens when they steal from the wrong person. It reminded me of Omar from The Wire (gotta love Omar), so I was really excited to read it. The first few chapters were enjoyable, the voice was unique and gritty, but as I learned more about the protagonist, I liked him less and less. He was selfish, unmotivated and one-dimensional. What made me finally put the book down? It was revealed that the guy shot heroin.
Now, I'm not a prude. I wasn't happy when his crystal meth habit was revealed in chapter 2, but I could look past it. I didn't mind that he was a thief or that he shot someone's head off. The heroin was a deal breaker, and at first, I couldn't figure out why. There are plenty of characters from movies and television that I loved despite their addiction. I can even recall a few short stories with junkie protagonists that I enjoyed. What was it about this character that made me put the book down? He wasn't redeeming in any other way.
If you've watched The Wire, think about Bubbles. (If you haven't watched The Wire, stop reading this blog immediately and go rent it). Yes, Bubbles was a homeless addict, but he was also redeeming. He had a good heart, he helped people, and he wasn't proud of his substance abuse. All of these factors made him likable, even if his habit wasn't. In this novel, the protagonist didn't possess enough redeemable qualities. To me, he became just another junkie criminal, someone who should be a villain in a book, not a hero. And therefore, I had to put it down.
When I read, I want the protagonist to be a hero. A hero can have flaws, a hero can be a criminal or less-than-likable person, but in the end, s/he has to be working for the greater good. If this particular character was stealing to feed his family or if he did it to put the dope dealers out of business, it would be a different story. But this guy was doing it to feed his addiction. He was no better than those he stole from. This protagonist was no hero, and therefore, I didn't want to read about him.
I've heard from plenty of writers and readers that there are certain things your protagonist absolutely cannot be: a drunk, a chauvinist, a killer of cats, etc. I don't like blanket statements and I'm usually the first to illustrate exceptions to the rule. But when it comes to protagonists, I do believe they MUST be a hero, even if they are flawed. Any arguments?
Now, I'm not a prude. I wasn't happy when his crystal meth habit was revealed in chapter 2, but I could look past it. I didn't mind that he was a thief or that he shot someone's head off. The heroin was a deal breaker, and at first, I couldn't figure out why. There are plenty of characters from movies and television that I loved despite their addiction. I can even recall a few short stories with junkie protagonists that I enjoyed. What was it about this character that made me put the book down? He wasn't redeeming in any other way.
If you've watched The Wire, think about Bubbles. (If you haven't watched The Wire, stop reading this blog immediately and go rent it). Yes, Bubbles was a homeless addict, but he was also redeeming. He had a good heart, he helped people, and he wasn't proud of his substance abuse. All of these factors made him likable, even if his habit wasn't. In this novel, the protagonist didn't possess enough redeemable qualities. To me, he became just another junkie criminal, someone who should be a villain in a book, not a hero. And therefore, I had to put it down.
When I read, I want the protagonist to be a hero. A hero can have flaws, a hero can be a criminal or less-than-likable person, but in the end, s/he has to be working for the greater good. If this particular character was stealing to feed his family or if he did it to put the dope dealers out of business, it would be a different story. But this guy was doing it to feed his addiction. He was no better than those he stole from. This protagonist was no hero, and therefore, I didn't want to read about him.
I've heard from plenty of writers and readers that there are certain things your protagonist absolutely cannot be: a drunk, a chauvinist, a killer of cats, etc. I don't like blanket statements and I'm usually the first to illustrate exceptions to the rule. But when it comes to protagonists, I do believe they MUST be a hero, even if they are flawed. Any arguments?
Thursday, February 19, 2009
The Dreaded Synopsis
The past week or so, I have been struggling with the bane of my literary existence: the synopsis. Over the years, I have talked to hundreds of people in the publishing industry and I've reached two conclusions regarding those 5-page pests: all writers hate them and most agents require them.
For those of you who haven't had the anguish of being asked to boil down your 90K word novel into five measly pages, consider yourselves lucky. The rest of us have had to struggle and wrestle and feel the pressure because not only are synopses hard to write, they can make or break a submission packet. The agent or editor may enjoy the first three chapters you sent, but if they're not drawn to the summary of the entire book, they're not going to ask for the full manuscript. These five pages, the ones that no author I know claims to be good at writing, can determine whether or not your manuscript gets read.
You're probably thinking this would be the place where I give you the secret recipe for creating a kick-ass, fail-proof synopsis, but unfortunately, I don't know the secret. I've written two, neither of which landed me a book contract. So I'm turning to the experts. I've researched blogs, articles, forums and have formulated a lists of dos and don'ts for writing synopses:
Do:
- Make it compelling. If you're synopsis isn't gripping why would your book be?
- Include ending and illustrate a clear narrative arc. Agents and editors want to make sure you can tell a full story without it falling apart at the end.
- Pinpoint key story elements and elaborate on those, skipping over minor characters and plot points.
- Illustrate your protagonist's goal, motivation, and conflict. Without those three things, there is no story.
- Write in present tense, no matter what verb tense your novel is written in.
- Practice. Like any other craft, you're not going to nail it on the first try. A good exercise is writing a synopsis for a common book or movie.
Don't:
- Include cliffhangers or teasers. Give it all away!
- Include every detail of the book. If you do, you're synopsis will be a hundred pages long.
- Lose your voice. Let the writing style of the manuscript come through in the synopsis.
- Write it like a report. It should read more like a short story than a list of plot points.
These are pretty simple tips, and in theory, writing a synopsis is pretty simple. It's the art of creating a gripping, flawless, impossible-to-put-down, synopsis which is tricky. Want to hear it from the horse's mouth? Ask the experts:
Nathan Bransford - Literary Agent
Miss Snark - Anonymous Literary Agent
Jessica Faust - Literary Agent
Gordon Carroll (author) via his agent - Part 1
Gordon Carroll (author) via his agent - Part 2
Friday, February 06, 2009
Love is Murder panel
This afternoon I'm heading over to Love is Murder. It's one of my favorite conferences and I believe you can register at the door. Stop by Saturday at 10:00am for my panel, What NOT To Do: Editors and Reviewers Dish. Hope to see you there!
Carne Asada vs. Filet Mignon
Maybe I've been watching too much Top Chef lately, but I've come to see how books are a lot like restaurant dining. There's the greasy, no frills Mexican joint that has abuela cooking in the kitchen, and while the food tastes incredible, there isn't much art to it. Then there's the five-star restaurants with the 12-course tasting menus, where every single bite is carefully crafted and thought out and every flavor complements the others perfectly. I'm a huge fan of the Mexican place. I never tire of good food no matter what the presentation is like. But if I want to be impressed, if I want to be wowed, I'm going to the five-star restaurant.
Like Mexican restaurants, there are plenty of "good tasting" books out there. These are the books you enjoy reading, they're suspenseful and intriguing, but there's nothing really new or impressive about them. The five-star restaurant books aren't as common. These are the books in which each sentence is intended, each chapter is carefully crafted, each plot point leads somewhere and each character serves a distinct purpose. You don't remember the name of the taqueria with the great tortas, but you never forget the name of the restaurant where you had a 4-hour dining experience. Same goes for books.
Good news is, unlike owning a five-star restaurant, I believe any writer can produce a beautifully crafted, well written, memorable novel. Like any good chef, it's about honing your craft. Here are a couple of tips:
Like Mexican restaurants, there are plenty of "good tasting" books out there. These are the books you enjoy reading, they're suspenseful and intriguing, but there's nothing really new or impressive about them. The five-star restaurant books aren't as common. These are the books in which each sentence is intended, each chapter is carefully crafted, each plot point leads somewhere and each character serves a distinct purpose. You don't remember the name of the taqueria with the great tortas, but you never forget the name of the restaurant where you had a 4-hour dining experience. Same goes for books.
Good news is, unlike owning a five-star restaurant, I believe any writer can produce a beautifully crafted, well written, memorable novel. Like any good chef, it's about honing your craft. Here are a couple of tips:
- Read. Learn from the masters. Which books do you remember reading that are incredibly written and well crafted? Go back to those books, and this time, read them for the writing.
- Practice. Write every day, no matter what. You don't become a good writer by sitting around and thinking about writing. If you're still in the brainstorming phases of a book, write out character sketches, scenes from a character's childhood, a description of the setting. Words are free and paper is cheap.
- Craft. Everyone's writing process is different. Some have to think about a scene before writing it, other's write their way into it. Whatever your style, it's important to craft your prose. You may do it as you write or revise afterwards. Every chapter, ever scene, every paragraph, in your book should serve a purpose. Every character and every object should do the same. Every scene should push the story forward. Go through your manuscript and eliminate the ones that don't.
- See The Big Picture. This is something that many writers find difficult. It's easy to look at a scene or look at a chapter and see what's lacking. It's harder to look at the book as a whole. But it's necessary. If you plot beforehand, this will be easier, as you already know where the story is going. If you plot as you go, you may have to wait until your manuscript is finished to really see the big picture. Once you see the overall structure of the book, it will be easier to strengthen the scenes within.
As a reader and reviewer, I'm looking for the five-star restaurants. While the taquerias taste great, when you eat at a lot of them, they all begin to blur. I read a lot, and memories of the books that were simply enjoyable start to face. It's the well-crafted, five-star books that are burned in my memory. Those are the ones I'm looking for.
Wednesday, January 28, 2009
Recipe for Good Crime Fiction
- Start with protagonist. If you start with a main character rather than a plot, it will help you create a character-driven novel. Write or brainstorm a brief character sketch.
- Create antagonist. If you have one villain, write or brainstorm a brief character sketch. If there are multiple antagonists, write or brainstorm multiple character sketches.
- Add stakes. Answer the following questions on a sheet of paper: What does your protagonist want? What happens if s/he doesn't get it? What does your villain want? What happens if s/he doesn't get it? What do they each have to lose?
- Create concept. Write a one or two line prompt that starts the book. This will give you a place to begin. What's the first thing that happens in the book? What gets the ball rolling? Example #1: A father comes home to find his entire family has been kidnapped. Example #2 A P.I. is framed for the murder he was hired to investigate. These are very simple and will become more complex as you write.
- Create setting. Where is this all taking place? Is the setting real or imagined? Take time to think about the setting. This will give your book authenticity and you may discover some aspects of the place that you can use in your story.
- Mix steps 1-5 and create outline. Now that you have your protagonist, antagonist, concept and setting, you're ready to start shaping your book. If you don't have a good handle on those things yet, try writing a few scenes, just to get a handle on the voice of your story. Some people work better at outlining first, others write their way into it. But having an idea of where your going will create a tight plot without a lot of "throat clearing".
- Write, write, write!
- Raise stakes throughout. In a good book, characters change. Therefore, their motivations will too. With each turning point, you must raise the stakes for your characters. This will heighten tension and keep readers intrigued.
- Add a dash of tension on every page. Elmore Leonard said it best, "I don't write the parts that people skip." It doesn't have to be, edge-of-your-seat-character-could-die-at-any-moment tension. That would be too much. But adding some sort of tension, whether it be internal or external, is necessary to keep the book moving forward.
- Sprinkle clues throughout. Give readers just enough to keep them guessing, but not enough that they get it right.
- Turn up the heat. As you near the end of your book, the pacing should pick up a bit. Don't give readers a chance to put the book down.
- Create a strong finish. A good ending is one that readers don't predict beforehand, but, in hindsight, realize the answer has been in front of them the whole time. Avoid cliches, don't pull a rabbit out of the hat, but don't go for the obvious either. When you're finished, if it's too predictable or too out there, go back to step 10.
- Set aside and let cool.
- Reread and revise until perfect. Don't be naive and think that your first draft is perfect. After you've set the book aside for a while, you'll hopefully come back with enough perspective to give the book any necessary tweaking.
- Test. Your book, like new recipes, should be tried out on the people closest to you before sending it out. Let trusted friends and family read the book and give you feedback before querying agents. They'll be able to see many things that your eyes missed.
Tuesday, January 20, 2009
Get the Facts
A fiction writer, by definition, makes things up. The stories we tell stem from our imagination. I know very few crime writers who are also detectives solving murder cases or romance writers that are seduced by a hunky, but unattainable, man on a daily basis. Our stories are fantasies, ideas, entertainment.
But even though our stories are fictional, even though we can get away with making up characters and weaving high-concept plots, so much of the book needs to be factual. Mysteries must stay true to police procedures, weapons and forensic science. Thrillers must give accurate accounts of the FBI and CIA, stay true to the laws of physics (can't have the hero flying through the air to save the day), and while the plot is made up, it must be feasible enough to feel like something that could actually happen. Fantasies create their own worlds and laws, but must stay true to the rules they create. While yes, we're making things up, I'd say 60% of the book is based on truth.
Think back to your favorite books. What was it that you enjoyed so much? Was it the characters and their authentic dialogue? The setting and how true it rang? The history or science within the pages and how much you learned from it?
A few of my favorites include: PORTNOY'S COMPLAINT, LAST EXIT TO BROOKLYN, MYSTIC RIVER and anything by Chuck Palahniuk. Would PORTNOY have been as interesting if the dialogue wasn't so authentic? If it didn't hit the nail on the head in portraying a Jewish family of that time period? Would LAST EXIT have been as compelling if the place wasn't so wonderfully portrayed, if Selby didn't make you feel the grit and grime of Brooklyn's streets? Same goes for MYSTIC RIVER and Lehane's portrayal of south Boston. But what I found even more compelling about that book was Lehane's ability to stay so true to human emotion and motivation. Chuck Palaniuk bases most of his books on weird facts and tidbits he gathers in his daily life. While the story and characters are fascinating, it's those little facts, those things that you would never in a million years think of, that make his work memorable.
Conversely, inaccuracy or lack of authority, can easily break a book. So many books are written about Chicago and when they're wrong, I immediately put the book down. Same goes for inaccurate police procedurals or weapons information. The worst, however, is when the dialogue isn't believable, when the characters in the book are people that would never exist, when they act unlike any person you've ever met. Even a vampire or a werewolf should have believable personality traits and real motivations.
So how to you ensure accuracy in your writing? One word: research. Authenticity is not something that comes from simply surfing the web. It requires authors to get away from the computer. This could include:
But even though our stories are fictional, even though we can get away with making up characters and weaving high-concept plots, so much of the book needs to be factual. Mysteries must stay true to police procedures, weapons and forensic science. Thrillers must give accurate accounts of the FBI and CIA, stay true to the laws of physics (can't have the hero flying through the air to save the day), and while the plot is made up, it must be feasible enough to feel like something that could actually happen. Fantasies create their own worlds and laws, but must stay true to the rules they create. While yes, we're making things up, I'd say 60% of the book is based on truth.
Think back to your favorite books. What was it that you enjoyed so much? Was it the characters and their authentic dialogue? The setting and how true it rang? The history or science within the pages and how much you learned from it?
A few of my favorites include: PORTNOY'S COMPLAINT, LAST EXIT TO BROOKLYN, MYSTIC RIVER and anything by Chuck Palahniuk. Would PORTNOY have been as interesting if the dialogue wasn't so authentic? If it didn't hit the nail on the head in portraying a Jewish family of that time period? Would LAST EXIT have been as compelling if the place wasn't so wonderfully portrayed, if Selby didn't make you feel the grit and grime of Brooklyn's streets? Same goes for MYSTIC RIVER and Lehane's portrayal of south Boston. But what I found even more compelling about that book was Lehane's ability to stay so true to human emotion and motivation. Chuck Palaniuk bases most of his books on weird facts and tidbits he gathers in his daily life. While the story and characters are fascinating, it's those little facts, those things that you would never in a million years think of, that make his work memorable.
Conversely, inaccuracy or lack of authority, can easily break a book. So many books are written about Chicago and when they're wrong, I immediately put the book down. Same goes for inaccurate police procedurals or weapons information. The worst, however, is when the dialogue isn't believable, when the characters in the book are people that would never exist, when they act unlike any person you've ever met. Even a vampire or a werewolf should have believable personality traits and real motivations.
So how to you ensure accuracy in your writing? One word: research. Authenticity is not something that comes from simply surfing the web. It requires authors to get away from the computer. This could include:
- Police ride-along (and then going out with them to the bar afterwards to nail their dialogue)
- Walking or driving around the places in your story. Getting a sense for the people who live there, the businesses in the area, the terrain, the weather, etc.
- Sitting in a cafe or restaurant and writing down overheard conversations. It's a great exercise to practice writing dialogue.
- If your main character has an occupation that you've never had yourself, talk to someone in that industry. By, talking with a journalist or P.I. you not only learn the details of their job, but you also learn about the type of person they are: what clothes they wear, how they work, their personality, etc.
- Going to a gun range or taking a martial arts class.
There's the common mantra of write what you know, but personally, what I know isn't all that interesting. I find it a lot more fun to write about bad guys. But those bad guys must be authentic, and achieving that requires a bit of research. So although we make stuff up, even though our stories come from our imaginations and our creativity, it's actually the facts that set the good books apart from the bad.
Thursday, January 08, 2009
Adapt or Die
As the layoffs continue, the sales decline, and the number of acquisitions grinds to a screeching halt, it's impossible not to think about the future. As a newbie novelist, I am constantly thinking, "Well, if it was hard to break into the industry before, it's going to be virtually impossible now." As newspapers go under and book sections are cut, my job as a freelancer is also put in jeopardy. So how can we survive in such a struggling industry? We adapt.
I think now, more than ever, online articles and reviews are key to staying in the game. Journalism is a lot like novel writing: go too long without publishing something and you are soon forgotten. Guest blogging and publishing reviews or interviews online is an easy way to keep your name in the game. Since their overhead is minimal, online publications aren't struggling the way newspapers are and they have far more space for freelance submissions.
From talking to people and reading industry publications, it seems that the movie business hasn't taken as much of a hit as print, however, these two industries often work hand in hand. How many novels were completely forgotten until their adaptation was released on the big screen? I do believe that authors (unless they're horrible at writing dialogue) can write decent screen plays, so why not take a stab at adapting one of your novels or short stories? Sure, it's great to get a book optioned, but unless the movie gets made, it won't translate into sales. I'd say in this climate, it's a lot easier to sell a screenplay than it is to sell a novel, so why not try your hand at something new?
One thing that I still would stay away from is self publishing or e-publishing. While technology like the Kindle and Sony Reader will eventually give way to a burst of e-books, the market still isn't there. I'd say your much better off holding on to that novel until the market improves than going down the self-publishing path.
In order to survive in a changing industry, one must adapt. Writing has always been a tough industry to break in to, but now, it's tougher than ever. Innovation and creativity are necessary to getting a foot in the door, even if it's a different door than you originally intended. Opening yourself up to different genres or different mediums will make it easier to break in and give you valuable experience so you, hopefully, will stay in.
I think now, more than ever, online articles and reviews are key to staying in the game. Journalism is a lot like novel writing: go too long without publishing something and you are soon forgotten. Guest blogging and publishing reviews or interviews online is an easy way to keep your name in the game. Since their overhead is minimal, online publications aren't struggling the way newspapers are and they have far more space for freelance submissions.
From talking to people and reading industry publications, it seems that the movie business hasn't taken as much of a hit as print, however, these two industries often work hand in hand. How many novels were completely forgotten until their adaptation was released on the big screen? I do believe that authors (unless they're horrible at writing dialogue) can write decent screen plays, so why not take a stab at adapting one of your novels or short stories? Sure, it's great to get a book optioned, but unless the movie gets made, it won't translate into sales. I'd say in this climate, it's a lot easier to sell a screenplay than it is to sell a novel, so why not try your hand at something new?
One thing that I still would stay away from is self publishing or e-publishing. While technology like the Kindle and Sony Reader will eventually give way to a burst of e-books, the market still isn't there. I'd say your much better off holding on to that novel until the market improves than going down the self-publishing path.
In order to survive in a changing industry, one must adapt. Writing has always been a tough industry to break in to, but now, it's tougher than ever. Innovation and creativity are necessary to getting a foot in the door, even if it's a different door than you originally intended. Opening yourself up to different genres or different mediums will make it easier to break in and give you valuable experience so you, hopefully, will stay in.
Subscribe to:
Posts (Atom)
